The Keep (1983 film)

Based on the novel by F. Paul Wilson, The Keep is the story of a group of Nazi soldiers in 1941 Romania who enter an ancient fortress that possesses a mysterious entity that would eventually wreak havoc on everyone. Written for the screen and directed by Michael Mann, the film is a fantasy-horror film that explore this mysterious object that is filled with dark entities that would prove to be troubling for everyone. Starring Scott Glenn, Alberta Watson, Gabriel Byrne, Jurgen Prochnow, Robert Prosky, and Ian McKellan. The Keep is a fascinating but messy film from Michael Mann.

The film revolves around a mysterious fortress in 1941 Romania that the Nazis plan to use during the war where it is revealed that a mysterious entity has emerged within the fortress killing many where a Jewish professor, his daughter, a mysterious man, and other deal with this mysterious entity. It is a film that explore this entity inside a fortress in a small Romanian village near the Carpathian Mountains where the Nazis hoped to have control of the Dinu Pass. Michael Mann’s screenplay does showcase this air of conflict between two German officers in Captain Klaus Woermann (Jurgen Prochnow) and the more sadistic Nazi official Major Erich Kaempffer (Gabriel Byrne) as the former doesn’t want to bring any harm to the Romanian villagers but is also a much more humane individual than the latter who would arrive later following an incident in the fortress in which two soldiers tried to steal a metallic cross thinking it is silver and full of riches only to unleash the mysterious entity known as Radu Molasar (Michael Carter).

Captain Woermann turns to the local pastor Father Mihail Fonescu (Robert Prosky) for advice as Father Fonescu suggests getting the Jewish historian Theodore Cuza (Ian McKellan) who is at a concentration camp with his daughter Eva (Alberta Watson) as they’re retrieved despite Cuza’s ailing health while a mysterious man named Glaeken Trismegestus (Scott Glenn) arrives from Greece to deal with this entity. Mann does maintain this air of intrigue yet the fact that there’s so much going on and a lot of ambiguity into this entity doesn’t do much with the story though it is clear that there is a lot more that Mann wanted to say as it plays into the state of the world as well as the fortress itself as one of the first scenes in the film has Captain Woermann meet a man in Alexandru (W. Morgan Sheppard) who has been watching over the fortress as he made a warning towards Captain Woermann as he and his two adult sons are never seen again. It’s one of these things in the film that feels like it got cut out as there’s a lot of things that are unexplained in the film.

Mann’s direction is definitely stylish in terms of not just the vast scope he presents but also brings in this mixture of horror, drama, suspense, and war into one entire film. Shot partially on location at Llanberis in Wales as well as additional locations in Spain with much of the interiors of the fortress shot at Shepperton Studios near London. Mann definitely maintains some unique compositions including a lot of wide shots to get a look of some of the areas within this fortress that is filled with this air of death. Even in some of the exteriors where Mann uses some medium shots to get a look into the locations as well as the village where the Germans arrive with Captain Woermann wants to ensure civility. There are close-ups that do play into the drama and tension throughout the film yet the script doesn’t do enough to play into the suspense mainly due to the fact that the film was tampered with during post-production as there are scenes in the film that do feel longer as it has a lot more to say but got cut as some of the cutting feels awkward.

The scene where the two soldiers try to get this silver icon out of the wall that would lead to the chaos is a terrifying moment as is the reveal of Radu Molasar but there are elements in which Mann wanted to do so much more but it never goes all the way. Even as the presence of Molasar would loom over the village as Father Fonescu starts to act crazy where there is so much that feels like there is more to say. The film’s climax that involves Trismegestus and Molasar feels unfinished which lead to an abrupt ending of sorts as it does play like it was meant to be longer. Mann clearly wanted more to do but the result is something messy with so many questions into the stakes and the motivations of Molasar as it never is fully realized. Overall, Mann crafts a compelling but under-realized film about a group of people dealing with a mysterious entity at a Romanian fortress during World War II.

Cinematographer Alex Thomson does incredible work with the film’s cinematography as it is a highlight of the film with its usage of striking lighting for some of the interiors inside the fortress as well as some naturalistic looks for some of the daytime exterior scenes. Editor Dov Hoenig, with additional and un-credited work by Tony Palmer, does nice work with the editing as it has some moments to play into the suspense but the additional work from Palmer unfortunately has some jarring moments in the editing as it help play into the truncated tone of a film that felt longer. Production designer John Box, with set decorator Michael Seirton plus art directors Alan Tomkins and Herbert Westbrook, does amazing work with the look of the fortress including many of its interiors as well as the design of some of the interiors in village houses. Costume designer Anthony Mendleson does fantastic work with the costumes as it play into the period of the times including the Nazi uniforms that Major Kaempffer wears along with his own soldiers.

Makeup effects supervisor/prosthetics designer Nick Maley, with creature designer Enki Bilal, does excellent work with the look of some of the design of the corpses with Bilal creating the look of Molasar. Special effects supervisor Nick Allder, along with visual effects supervisors Robin Browne and Wally Veevers, does terrific work with some of the film’s visual effects as it play into the usage of practical effects and optical shots for some of the powers that Molasar has as well as the glowing eyes of Trismegestus. Sound editor William Trent, with re-recording mixer Doug Turner, does fine work with some of the sound in the way gunfire and other sound effects sound though there’s moments where the sound is muddled due to a lot of the chaos that went on during the film’s post-production. The film’s music by Tangerine Dream is phenomenal with its intoxicating electronic score that has elements of lush synthesizers with elements of guitars as it help play into the mood of the film as it is one of its major highlights.

The casting by Jeremy Zimmerman is superb as it feature some notable small roles and appearances from Frederick Warder and Bruce Payne as the two guards who tried to steal a silver icon that would unleash the terror that would haunt everyone, David Cardy and John Eastham as Alexandru’s sons who help him watch over the fortress, W. Morgan Sheppard as the fortress caretaker Alexandru whom Captain Woermann respects as he warns him about what is inside, and Michael Carter as the mysterious entity Radu Molasar who is this mysterious creature that is terrorizing everyone as it is a chilling performance though he is hampered by the film’s screenplay. Robert Prosky’s performance as Father Mihail Fonescu is an example of someone being miscast since Prosky doesn’t speak with a Romanian accent as he is someone who is trying to help Captain Woermann while dealing with some of the changes in Dr. Cuza’s behavior.

Ian McKellan is fantastic as Dr. Theodore Cuza as a Jewish professor who used to live in the village as he is taken from the concentration camp where he has an encounter with Molsar who cures his ailments as McKellan manages to even play into some over-the-top acting as a man trying not to get killed by the Nazis. Alberta Watson is good as Eva as Dr. Cuza’s daughter who is accompanying him as she is the lone female figure in the film who is seen by the Nazis as someone they can rape yet is also someone who is trying to understand what is going on as Watson has her moments in a role that is underwritten. Jurgen Prochnow is excellent as Captain Klaus Woermann as an infantry officer who reluctantly takes the assignment as he deals with the chaos involving the entity while also lamenting over Major Kaempffer’s sadistic tactics as he is a humane man that wants to protect the villagers and his soldiers from the chaos as well as questioning the ideas of the Nazis.

Gabriel Byrne’s performance as Major Erich Kaempffer as a Nazi officer who leads a band of commandos as he is a sadistic figure that spews Nazi rhetoric as it’s a role that is underwritten where Byrne doesn’t really get to do much but be an asshole. Finally, there’s Scott Glenn in a superb performance as Glaeken Trismegestus as a mysterious figure who seduces Eva while is also someone that is filled with a lot of ambiguity as Glenn is hampered by the script as it feels like there is more about him but is rushed because of the botch editing of the film though Glenn is able to bring in a performance is still intriguing.

The Keep is a good but extremely messy and flawed film from Michael Mann. While it has some incredible visuals from Alex Thomson as well as a great score by Tangerine Dream and some amazing set design. It is a film that feels like there is more to say in its original 210-minute cut that Mann had intended but instead the final version is at the 97-minute running time which feels more like a preview of something much darker. In the end, The Keep is a superb but undercooked film from Michael Mann.

Michael Mann Films: The Jericho Mile – Thief (1981 film) - Manhunter - L.A. Takedown – The Last of the Mohicans (1992 film) - Heat (1995 film) - The Insider – Ali - Collateral - Miami Vice - Public Enemies - Blackhat - Blackhat - Ferrari – (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2022

Thief (1981 film)

Based on the novel The Home Invaders: Confessions of a Cat Burglar by John Seybold (under the pseudonym Frank Hohimer), Thief is the story of a safecracker who decides to go straight upon completing one more diamond heist only for everything to go wrong. Written for the screen and directed by Michael Mann, the film is a look into a thief who is known for his professionalism as he deals with the dangers of his profession as he is eager to start a new life. Starring James Caan, Tuesday Weld, Robert Prosky, James Belushi, Tom Signorelli, Willie Nelson, and Dennis Farina. Thief is an entrancing and gripping film from Michael Mann.

The film follows the life of a safecracker who has decided to end his life of crime to focus on living a cleaner and safer life but a crime boss offers him a job that would make him rich as he copes with what the job will do for him but also if it can really set him free. It’s a film that is really more of a character study of a man that does have a couple of businesses that he runs in a bar and in a car dealership yet he makes great money in being a safecracker. Yet, when a fence who is supposed to pay him is killed and unable to give the safecracker named Frank (James Caan) his money. Frank learns that his dealer owes money to a crime boss in Leo (Robert Prosky) who wants to offer Frank a job to steal diamonds in California. The job would allow Leo a chance to not just get the money he’s owed but also so much more including a way out of the life of crime as he had been to prison and doesn’t want to go back. Michael Mann’s screenplay follows the world that Frank lives in as despite his legitimate businesses, he is at his best when he is opening safes and steal its goods while maintaining a low profile as he answers to no one.

Still, he has endured so much trouble and wants to stay away from trouble just as he’s getting his life going upon meeting and dating a restaurant cashier in Jessie (Tuesday Weld). He also has this idea of a dream he wants to do of a life outside of crime and major responsibilities that he wants to share with Jessie as there is this scene at a diner that is seven-minutes long where Frank talks about this dream he has with a picture he had been carrying. A man in that picture is his mentor Okla (Willie Nelson) who is incarcerated for his time as a safecracker but has a chance of getting out. For Frank to do that, he has to take Leo’s job offer as he and his friend Barry (James Belushi) go to California to do this job. The second act isn’t just about Frank accepting the job but also trying to get things the right way as he also has to deal with corrupt cops. The third act is about this heist but also its troubling aftermath.

Mann’s direction is rapturous for the way he creates an atmosphere of a man in his element as a safecracker as the first seven minutes showcases Frank breaking into a safe with a drill and hammer with great attention to detail. Shot largely in Chicago with some of the film shot in California, Mann would maintain a tone that does bear elements of film noir as much of the action is shot at night with very little scenes shot on a sunny day. Mann’s usage of wide shots do play into the locations yet he aims for something more intimate in the fact that the film is character-driven with Frank in nearly every frame of the film whether he’s having this conversation with Jessie about his life in a seven minute scene filled with monologues or a meeting with Leo at a restaurant with its medium shots and close-ups. Much of the film’s first two acts are driven mainly by suspense and drama with little emphasis on action as it play into the planning of this big heist in California.

Mann’s direction is also intoxicating for the way he builds up this slow attention to detail into how a heist would work but also Frank’s desire to make sure that Jessie wouldn’t know too much despite telling her what he really does. The climatic heist is also a slow build in not just what Frank, Barry, and their friend Joseph (William LaValley) do but also the tools and such they need to open a vault. It’s an amazing sequence that has Mann be patient in his approach as well as what is in the vault. The aftermath as it relates to everything Frank is given and what he wants do come into play where it’s not just violent but also play into the idea of loyalty in the world of crime which is something Frank has a problem with. It would lead to a showdown that is intense but also chilling in the way Mann approaches every shot in what is to come as well as the attention to detail into Frank’s professionalism. Overall, Mann creates a mesmerizing and riveting film about a safecracker trying to go straight while being asked to do one more job.

Cinematographer Donald Thorin does incredible work with the film’s cinematography with its usage of low-key lighting for some of the interiors as well as scenes set at night with its emphasis on stylish lighting as it’s a highlight of the film. Editor Dov Hoenig does excellent work with the editing as it help play into the rhythm of the suspense in its pacing as well as some stylish cuts for some of the action and drama. Production designer Mel Bourne, along with set decorator John M. Dwyer and art director Mary Dodson, does amazing work with the look of the home that Frank would get from Leo as well as the bar and his car dealership as well as the room where the big vault for the film’s climax is presented.

The special effects of Russel Hessey and Doug Hubbard is terrific for some of the film’s action scenes as well as a few moments in the heist scenes. Sound mixer David M. Ronne does superb work with the sound in the way a drill sounds in breaking into a safe as well as other objects that help play into the suspense and action. The film’s music by Tangerine Dream is brilliant for its electronic-based score that has elements of somber and moody pieces along with eerie cuts that play into the suspense while a score piece by Craig Safan for the film’s final moments is intense in its art-rock sound as the soundtrack also includes some Chicago-based blues in a few scenes in the film.

The casting by Vic Ramos is wonderful as it feature some notable small roles and appearances from William Petersen as a bartender at a blues bar, Dennis Farina as one of Leo’s hoods, Patti Ross as Barry’s girlfriend Marie, William LaValley as an associate of Frank’s in Joseph, Hal Franks as Frank’s fence Joe Gags who didn’t inform Frank about the money he owes to Leo, and Tom Signorelli as Leo’s right-hand man Attaglia as a low-level crime boss that refuses to give Frank his money as he would get in touch with Leo to deal with Frank. Willie Nelson is superb in a small but memorable performance as Frank’s mentor Okla as a man that is incarcerated as he’s dealing with ailments prompting Frank to get him out of prison legally.

James Belushi is fantastic as Barry as Frank’s friend who works as a mechanic at Frank’s dealership while also aiding him in the heist as he also hopes the job would give him a good life. Robert Prosky is excellent as Leo as a crime boss who offers Frank a major job with a big payday as he also helps him get a few things where it is clear what his motives are as it play into the ideas of loyalty and greed. Tuesday Weld is amazing as Jessie as a cashier waitress at a restaurant Frank falls for as she is suspicious about his attitude towards life while learning about what he does as she tries to help him start a new life. Finally, there’s James Caan in a tremendous performance as Frank as a safecracker who runs a dealership and a bar that is eager to go straight until he’s not given the money he’s owed as it’s a performance of intensity but also with an air of calm and restraint as a man who has been through too much and is eager that this one job will be his last as it is Caan in one of his best performances.

Thief is a spectacular film from Michael Mann that features an incredible performance from James Caan. Along with its ensemble cast, gorgeous visuals, riveting screenplay, offbeat suspense, and a hypnotic score by Tangerine Dream. The film is definitely an early major achievement from Mann that would showcase his approach to crime and man dealing with his situations as it is also this engrossing character study that isn’t afraid to show flaws in the decisions that a man makes. In the end, Thief is a phenomenal film from Michael Mann.

Michael Mann Films: The Jericho Mile – The Keep – Manhunter – L.A. Takedown – The Last of the Mohicans (1992 film) – Heat – The Insider – Ali – Collateral – Miami Vice – Public Enemies (2009 film) – Blackhat - Blackhat - Ferrari - (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2018

Broadcast News

Written and directed by James L. Brooks, Broadcast News is the story of a neurotic TV news producer who finds herself torn between her loyalty to a cynical reporter and a charismatic but dim anchorman. The film is an exploration of the world of news media where three people try to help bring news to the world in an ever-changing world. Starring Holly Hunter, Albert Brooks, William Hurt, Joan Cusack, Lois Chiles, Robert Prosky, Peter Hackes, and Jack Nicholson. Broadcast News is a witty yet captivating film from James L. Brooks.

The film revolves around a love triangle between a TV news producer, a veteran reporter, and a new anchorman for a Washington D.C. news station as they all try to report the news and sell it to the public. It’s a film that isn’t just an exploration of the world of news but also the lives of three people who are part of this world as they struggle to find their roles in it. Especially as their professional ideals and lives begin to clash with their own personal lives in this complicated love triangle where they’re all trying to do the same thing despite their different takes on the news. James L. Brooks’ script doesn’t just the explore the conflict about how the news should be presented and sold to the public but also in the ideals of these three characters.

The TV producer Jane Craig (Holly Hunter) is someone that believes that the news should be told and not embellished as it’s something the reporter Aaron Altman (Albert Brooks) also believes though he is more cynical about the way news is being told and commercialized for a mass audience. Coming into their lives is Tom Grunick (William Hurt) who has the looks and charm of a news anchor but isn’t very smart as he knows that where he wants to help as he met Craig during a convention about the ethics of news. Grunick is someone that has the look to report and tell the news to the public as he is everything Altman isn’t as he is nice and not trying to offend anyone. Altman is a prick because he is passionate about wanting to get the facts straight and be true to the news. While Craig doesn’t think highly of Grunick at first, she eventually realizes his potential as well as the fact that he is actually presentable and can do his job.

It’s not just in the development of the story and the characters where Brooks succeeds at but it’s also in the many quirks of the characters such as Craig who is quite neurotic and often cries daily. She is also not in a relationship or involved with anyone other than Altman until Grunick appears as he is a very interesting person despite his lack of intelligence. Altman is baffled by how Grunick would get work so easily yet when Altman is given the chance to cover the news. Grunick gives him a few pointers on how to present himself as it would be a turning point for him but also with some realizations that he must face. The film also features a subplot that comes in its second half as it relates to a dangerous layoff due to budget cuts as it plays into the reality of the TV news world where it’s not just about ratings but also money.

Brooks’ direction is very simple in terms of the compositions he creates yet does manage to infuse some style into the way the newsroom and what goes on behind the scenes are shown. The film opens with a trio of prologues that relates to the main characters as children as it shows exactly who they are and what they would become as adults. Shot largely in Washington D.C. with some parts shot in Maryland and Virginia, the film does play into a world that is very energetic and demanding where Brooks doesn’t use a lot of wide shots as he favors something more intimate in the medium shots and close-ups. There are moments where Brooks’ direction does have some style such as this shot of Grunick in the foreground shot from behind while Craig is in the background very far in a wide shot as it play into what goes on in news reporting.

One notable sequence involving trying to get tape and such for a news report is among one of the most inventive and exciting moments in the film where it does have this air of realism in what Brooks is showing. Even as it shows an editor trying to cut something to the last second and get it to be aired for the evening news. Brooks’ direction is also very light-hearted in scenes where there’s a gathering or moments that are quite comical but not overtly. It’s told with a sense of restraint while not being totally forced as well as some of the drama though it does get quite heavy towards the third act as it relates to the love triangle between Craig, Altman, and Grunick. Especially as it reveals a lot about who they are and what they want for the world of TV news reporting. Overall, Brooks creates an insightful yet riveting film about three people in a love triangle while trying to report the news to the world.

Cinematographer Michael Ballhaus does excellent work with the film‘s cinematography as it‘s mostly straightforward to play into the look of the locations in its daytime/nighttime exteriors as well as some unique lighting for the interior scenes. Editor Richard Marks does brilliant work with the editing as it play into the frenzy of what goes on in the newsroom and behind the scenes along with some straightforward cutting for the dramatic and comedic moments outside of the newsroom. Production designer Charles Rosen and set decorator Jane Bogart does fantastic work with the look of the editing room in the news room and the homes of some of the characters.

Costume designer Molly Maginnis does nice work with the costumes as it is kind of casual with bits of style as well as some of the infamous clothing of the 1980s with fake shoulder pads. Sound editor Robert Grieve does terrific work with the sound from the way the chaos of trying to get a story displayed on television to the sound of the gatherings the characters go to. The film’s music by Bill Conti is wonderful for its score that is mainly a mixture of low-key piano-based music with some electronic keyboards to play into the world of the TV news.

The casting by Ellen Chenoweth is great as it features some notable small roles from Kimber Shoop as the young Grunick, Dwayne Markee as the young Altman, Gennie James as the young Craig, Stephen Mendillo as Grunick’s father, Ed Wheeler as an anchorman in George Wein, Glen Roven and Marc Shaiman as a couple of music composers trying to create a new theme for the news channel, Christian Clemenson as the TV editor Bobby, Leo Burmester as Craig’s father, Marita Geraghty as a date-rape woman that Grunick interviews, and a low-key cameo appearance from a faceless John Cusack as an angry messenger. In another notable small role that is a cameo of sorts, Jack Nicholson is superb as the evening news anchorman Bill Rorish as this legendary reporter that tells the news to the world as he carries some seniority as well as being the one guy everyone has to make sure he looks good. Peter Hackes is excellent as the news station boss Paul Moore who tries to keep things going while dealing with the financial chaos of the station. Joan Cusack is fantastic as Blair Litton as a staff member who is also Craig’s best friend of sorts who has an amazing scene running around the office to bring a tape in and evade all sorts of obstacles.

Lois Chiles is wonderful as anchorwoman Jennifer Mack who takes a liking towards Grunick as she would briefly go out with him. Robert Prosky is brilliant as Ernie Merriman as the station’s manager who tries to keep things afloat while being aware of the layoffs that might emerge. Albert Brooks is phenomenal as Aaron Altman as this very intelligent and idealistic reporter who has always been behind the scenes or covering events around him as he copes with Grunick’s presence as well as his attempts to bring some substance to the world of news. William Hurt is remarkable as Tom Grunick as this dim but kind-hearted reporter that has the looks and charms to be an anchorman as it’s a very complex character as he represents someone that wants to make the news more accessible. Finally, there’s Holly Hunter in an incredible performance as Jane Craig as a TV news producer who is torn between two men while often crying for some odd reason as it’s a very fiery and energetic performance that play into a woman trying to maintain the idea of what TV news should be.

Broadcast News is a marvelous film from James L. Brooks that features great performances from Holly Hunter, William Hurt, and Albert Brooks. It’s a film that is very smart as well as being very funny thanks in part to its witty script as well as a superb supporting cast. In the end, Broadcast News is a sensational film from James L. Brooks.

James L. Brooks Films: (Terms of Endearment) - (I’ll Do Anything) - (As Good as It Gets) - (Spanglish) - (How Do You Know)

© thevoid99 2016

Christine (1983 film)

Based on the novel by Stephen King, Christine is the story of a young teenager who buys a 1958 Ford Plymouth as he becomes obsessed with the car that comes to life and kills whoever harms him and the car. Directed by John Carpenter and screenplay by Bill Phillips, the film explores the strange relationship between a nerdy young man and his car which creates something that is scary and full of terror. Starring Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky, and Harry Dean Stanton. Christine is a thrilling and exhilarating film from John Carpenter.

Set in 1978, the film revolves a young nerdy teenager who buys a beat-up 1958 Ford Plymouth from an old man as he would start to change in drastic ways while becoming obsessed with the car and kill anyone who insults or harms him and his car. For this young man, the chance of having a car doesn’t just give him the chance to have something of his own but also would mark a major change from this cowardly nerd to being someone that is no longer afraid but would also mark some very dark characteristics into his personality. Bill Phillips’ screenplay doesn’t just explore the change in the personality of its protagonist Arnold Cunningham (Keith Gordon) but also in how those who are close to him would react to this change. Especially as his best friend Dennis Guilder (John Stockwell) notices the change in his personality where Arnold manages to snag the new girl in town named Leigh (Alexandra Paul) as well as get the ire of the bullies.

The script would also indicate where Arnold was before he had the car as he was just this nerd that was doing whatever it takes to succeed in high school and always did what his parents told him. Upon seeing this beat-up car, Arnold sees this chance to find a new identity but one that has him being very antagonistic towards his parents as well as being neglectful towards Dennis who would get injured at a football game upon the moment he sees the change in Arnold with this car. Even as the garage owner Darnell (Robert Prosky) who would let Arnold put the car there in exchange for some work and such notices that something isn’t right. Once the story becomes more about the car that is called Christine and the number of victims it went after, it would also play more into Arnold’s own personality as he becomes obsessive, angrier, and also more controlling in what he wants to do with his life.

John Carpenter’s direction is very gripping from the way he opens the film which begins with an assembly line of workers checking on different models of 1958 Ford Plymouth where this one red Ford Plymouth would do something and it would then shift to twenty years later. While much of it is presented in a simple manner in terms of its compositions, Carpenter’s approach to the suspense is very slow once it relates to the car that is Christine. Carpenter’s usage of close-ups and medium shots do help play into some of the drama and suspense yet it is the moments involving Christine where the radio would light up playing an rock n’ roll tune is where things get very interesting. Most notably the sequence where Christine goes after Arnold’s enemies in such a way as it has this sense of terror but also glee considering that some of these individuals who tormented him are getting what they deserve. The film’s climax is intense where Carpenter’s usage of the wide shots and setting doesn’t just play into what must be done but also reveal exactly how far one must go to help a friend from this terrible obsession. Overall, Carpenter creates a very exciting and mesmerizing film about a teenager and the car that he loves.

Cinematographer Donald M. Morgan does excellent work with the film‘s cinematography from the sunny and colorful locations in the day to the more lavish usage of lights for some scenes at night including the scenes involving Christine. Editor Marion Rothman does fantastic work with the editing in its usage of rhythmic cuts as well as some stylish cutting to help build up some of the suspenseful moments including the scenes of Christine unleashing herself. Production designer Daniel A. Lomino and set decorator Cloudia Rebar do brilliant work with the design of Darnell‘s junkyard/garage which would be the place where Arnold would work on Christine as well as some of the places he would go to. Costume designer Darryl Levine does nice work with the costumes as it‘s mostly casual as it sort of strays from the clothing that is often typical of the late 1970s.

Special effects supervisor Roy Arbogast does amazing work with some of the effects as it revolves around Christine coming back to life after being beaten and humiliated as it is among one of the chilling sequences in film. Sound editor David Lewis Yewdall does superb work with the sound to play into Christine coming back together as well as some of the sound work that goes on in the locations and in the suspenseful moments. The film’s music by John Carpenter and Alan Howarth is wonderful as it’s very low-key in its electronic setting with its usage of synthesizers and keyboards to help play into the horror and suspense while the soundtrack would feature not just old classics from Ritchie Valens, Robert and Johnny, Johnny Ace, Buddy Holly, Larry Williams, Dion and the Belmonts, Danny and the Juniors, and Little Richard but also songs from the 70s by the Rolling Stones and Bonnie Raitt and an anachronistic yet fitting song from George Thorgood and the Destroyers.

The casting by Karen Rea is incredible as it features some notable small roles from David Spielberg as the auto shop teacher, Stuart Charno, Steve Tash, and Malcolm Danare as a trio of bullies who torment Arnold, Robert Blossoms as the old man who sold Arnold the car which previously belonged to his brother, Kelly Preston as the cheerleader Roseanne who has a thing for Dennis, Christine Belford as Arnold’s mother who disapproves of Arnold having the car, and William Ostrander as the lead bully Buddy who torments Arnold and wants to cause hell to him until he becomes a target of Christine. Harry Dean Stanton is superb as the detective Rudy Junkins who would confront and question Arnold over some of these incidents as he knows something isn’t right. Robert Prosky is fantastic as Darnell as a junkyard/garage owner who reluctantly lets Arnold have Christine stay at the garage as he is a no-nonsense kind of guy that is also baffled by the car itself.

Alexandra Paul is excellent as Leigh as the new girl in school that catches the eyes of many as she would date Arnold until she becomes concerned with his ever-changing moods as she thinks it has to do with Christine. John Stockwell is brilliant as Dennis as this jock who is a friend of Arnold as he becomes concerned with Arnold’s newfound behavior and obsession towards Christine as he realized how much he’s changed and not for the better. Finally, there’s Keith Gordon in an amazing performance as Arnold Cunningham as this nerdy kid who buys this beat-up ‘58 Ford Plymouth as he becomes obsessed with this car where he becomes a much darker and more antagonistic individual as it’s one of Gordon’s finest performances.

Christine is a phenomenal film from John Carpenter. Featuring a great cast, a cool premise, a fun soundtrack, and some chilling moments in films. It’s a film that isn’t just one of Carpenter’s quintessential films in terms of horror and suspense but it’s also one of the finest Stephen King adaptations ever created as it is told with such unique style. In the end, Christine is a spectacular 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 - 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 - Escape from L.A. - Vampires - Ghosts of Mars - The Ward

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

© thevoid99 2015

Mrs. Doubtfire

Based on the novel Alias Madame Doubtfire by Anne Fine, Mrs. Doubtfire is the story of an out-of-work actor who poses as an elderly British nanny so he can see his kids following the divorce from his wife. Directed by Chris Columbus and screenplay by Randi Mayem Singer and Leslie Dixon, the film is a light-hearted comedy where a man tries to be with his children as well as deal with the dissolution of his own marriage as the titular character and the role of Daniel Hiller is played by Robin Williams. Also starring Sally Field, Pierce Brosnan, Lisa Jakub, Matthew Lawrence, Mara Wilson, Harvey Fierstein, and Robert Prosky. Mrs. Doubtfire is a charming and entertaining film from Chris Columbus.

The film is a simple story of an out-of-work voice actor who gets divorced from his wife as he couldn’t see his three children as he decides to take on the role of a British nanny by the name of Mrs. Doubtfire when his wife needed a nanny to watch over the children. It’s a film that explores not just the concept of divorce where the children are caught in the middle but also a man who is put into a corner where he is only allowed to see his children for a small amount of time and has to get a steady job and a new home. By becoming Mrs. Doubtfire, Daniel Hiller not only becomes a better person but also realizes the mistakes he made in the way his marriage ended. At the same time, he finds himself having to contend with the presence of his ex-wife’s new boyfriend Stuart Dunmire (Pierce Brosnan).

The film’s screenplay creates not just a story that is compelling with bits of realism but also has a sense of charm and characters that audiences can relate to. While Daniel maybe sort of a man-child who never disciplines his children nor orders them around as he likes to have fun with them. It would be in the form of a birthday party for his son Chris (Matthew Lawrence) that would be the catalyst for the breakdown of his marriage to Miranda (Sally Field) who constantly works as she realizes how chaotic Daniel makes things prompting her to file for divorce. Upon the things he had to do in order to see his kids, Daniel would work at a TV station and live in an apartment that isn’t suitable for anyone at the time being as he can only see his kids for a few hours on a Saturday. At the same time, he would have to receive visits from a court supervisor (Anne Haney) to see if he can create a suitable home for his children. With the help of his makeup artist brother Frank (Harvey Fierstein), Daniel would take on the role of Mrs. Doubtfire.

One aspect of the script that makes it very interesting is how complex the characters are where Mrs. Doubtfire is this very unconventional British nanny as she maybe this big woman but also full of warmth and understanding as she would win over the kids including the eldest Lydie (Lisa Jakub). In this role, Daniel would find ways to better himself as he would eventually surprise Miranda during one visit late in the film. At the same time, Daniel would get a big job opportunity when he meets the TV station boss in Jonathan Lundy (Robert Prosky). The character of Miranda might seem like a woman who is just this workaholic who decided to end her marriage and create problems for her children. Yet, she is really just someone who wants to be happy as she has this great conversation with Doubtfire about what happened with her and Daniel where she does become more sympathetic. The character of Stuart could’ve been a villain but he is someone who manages to be a really nice guy that adores Miranda and the children as he would be an antagonist for Daniel.

Chris Columbus’ direction is very simple in terms of the compositions he creates as he would shoot the film largely in San Francisco. Much of it would include some close-ups and unique medium shots while Columbus would also create moments that play into a sense of energy of who Hiller is as an actor. Some of it would involve some crazy montages as well as lively moments that definitely crossed the line between innocent humor with a bit of bawdiness. One aspect of the film that Columbus succeeds is balancing humor with some drama as it relates to the concept of divorce. Though there are elements of sentimentality, Columbus manages to not overdo it and know to hit the right notes. Especially towards the end as it plays into what children have to deal whenever parents divorce. Overall, Columbus crafts a very entertaining and heartwarming film about a man trying to spend time with his children by pretending to be a British nanny.

Cinematographer Donald McAlpine does nice work with the film’s cinematography as it is very simple in the way many of the locations in San Francisco is presented along with the lighting in some of the film’s interior scenes. Editor Raja Gosnell does terrific work with the editing as it is straightforward with some inventive montages of Daniel’s voice impressions. Production designer Angelo P. Graham, with set decorator Garrett Lewis and art director W. Stewart Graham, does wonderful work with the look of the home Miranda and the kids lived as well as the apartment were Daniel would live in. Costume designer Marit Allen does excellent work with the costume design from the many different clothes that Mrs. Doubtfire would wear.

The makeup work of Greg Cannom, Ve Neill, and Yolanda Toussieng are phenomenal in the way they would create the look of Mrs. Doubtfire in every bit of detail. Sound editor Gloria S. Borders and sound designer Gary Rydstrom do superb work with the sound from the way some of the parts of the film‘s locations sound as well as some moments in the climatic restaurant scene. The film’s music by Howard Shore is amazing for its very light-hearted and low-key score with its orchestral arrangements that would also include some somber pieces while its soundtrack would feature music from James Brown, the Four Seasons, Frank Sinatra, House of Pain, B.B. King and Albert Collins, and Aerosmith.

The casting by Janet Hirshenson and Jane Jenkins is excellent as it features some notable small performances from Martin Mull as Miranda’s co-worker Justin, William Newman as a tired and dull TV show host, Scott Carpuro as Frank’s partner Jack, and Anne Haney as a court supervisor who would make a visit for Daniel’s apartment as she would meet Mrs. Doubtfire in a humorous scene. Robert Prosky is superb as a TV station boss whom Daniel meets as he catches Daniel’s act and realize that his station could be saved. Harvey Fierstein is fantastic as Daniel’s brother Frank who would create the mask and look of Mrs. Doubtfire. In the role of the children, Lisa Jakub is brilliant as the eldest child Lydie who deals with not seeing her father as she would warm up to Mrs. Doubtfire. Matthew Lawrence is amazing as Chris as a teenage boy who enjoys playing soccer with Mrs. Doubtfire while Mara Wilson is a total delight as the youngest Nattie who loves to be around Mrs. Doubtfire because she reads stories to her.

Pierce Brosnan is great as Stuart Dunmire as an old friend of Miranda’s who comes back into her life as he proves to be a nice guy that cares about the children though he serves as an antagonistic figure for Daniel. Sally Fields is incredible as Miranda as this frustrated working mom who is trying to find happiness in her life after years of a marriage that didn’t work as it’s Fields being quite calm and also very tender. Finally, there’s Robin Williams in one of his most iconic performances as the titular character and Daniel Hiller. It’s a performance that has Williams be at his funniest where he provides a lot of manic energy and improvisational ideas towards his humor as well as showing a sense of sensitivity and warmth once he plays the role of Mrs. Doubtfire as it’s really a performance for the ages.

Mrs. Doubtfire is a glorious film from Chris Columbus that features a tour-de-force performance from Robin Williams. It’s a film that isn’t just a family film that brings in a lot of laughs and heartwarming moments but also a film that manages to be so much more. Especially as it plays into the idea of family and what people go through with divorce as a man pretends to be a woman just so he can be with his children. In the end, Mrs. Doubtfire is an extraordinarily rich film from Chris Columbus.

© thevoid99 2014