Based on the biography by Walter Isaacson, Steve Jobs is the story about the man who co-founded Apple Computers as the film explores three different periods of his life. Directed by Danny Boyle and screenplay by Aaron Sorkin, the film is an unconventional story of Jobs’ life set in three different presentations of his three creations with behind-the-scenes moments where he deals with his own personal life as he’s played by Michael Fassbender. Also starring Kate Winslet, Seth Rogen, Katherine Waterston, Michael Stuhlbarg, Sarah Snook, and Jeff Daniels. Steve Jobs is an astonishing film from Danny Boyle.
Told in the span of 14 years from 1984 to 1998, the plays into the life of Apple Computers co-founder Steve Jobs as he is to launch three landmark products to the world in three different stage presentations. The film plays into Jobs on a day where he is to present a different product in a different year as he contends with colleagues, last-minute changes, glitches, and his own personal life as it relates to his illegitimate daughter Lisa Brennan. It’s a film told in three different periods in Jobs’ life and career as screenwriter Aaron Sorkin creates a unique structure that plays into Jobs’ life with some flashbacks of events that preceded the launches such as Jobs and Steve Wozniak (Seth Rogen) creating the Apple II computer and Jobs hiring John Sculley (Jeff Daniels) to be the CEO of Apple Computers.
The first act revolves around the launching of the Apple MacIntosh where Jobs and his right-hand woman Joanna Hoffman (Kate Winslet) fret over the computer in saying something to a packed house at an auditorium. The second act revolves around the NeXT personal computer four years after Jobs was fired from Apple in which he not only tries to deal with launching a computer that isn’t working on all cylinders but also his issues with Wozniak and Sculley. The third act is about the launch of the iMac just two years after Jobs has returned to Apple where he not only deals with other issues relating to his own ego but also his own personal demons. While Sorkin definitely shows not just how complicated Jobs is as a person where he was in denial over being the father of young girl but also in someone who likes to take all of the credit. It adds to the often contentious relationship with not just those who are close to him but also those who helped him in his ascent.
While Wozniak, Sculley, and Andy Hertzfield (Michael Stuhlbarg) each had their own issues with Jobs, they respected him though it is clear that they often feel slighted by him as Hertzfield is often pressured to meet deadlines and fix whatever technical issues a certain product has. Wozniak is just a guy that everyone likes as he was the brainchild of the Apple II computer which was Apple’s most successful product at that time as he just wants credit. Sculley meanwhile is the man that wanted to help Jobs and be cautious as there’s a key moment in the second act where the two talked about Jobs’ firing from Apple in 1985 where Sculley is called the scapegoat by everyone. Then there’s Joanna Hoffman as she is the film’s conscious as someone who knows Jobs left and right as well as the people in his life including Jobs’ former girlfriend Chrisann Brennan (Katherine Waterston) and their daughter Lisa. Adding to Sorkin’s approach to the narrative is his dialogue as it features lot of monologue and stylish dialogue which definitely says a lot to the characters in the film and their personalities.
Danny Boyle’s direction is very stylish not just in the intimacy he creates in these three different presentations in the life of Jobs but also in how they’re presented. The first act which revolves around the Apple MacIntosh presentation as it is shown in a grainy film stock to play into the look of the early 1980s as Boyle would use a lot of close-ups and handheld cameras to maintain that intimacy. Even in some of the wide shots of the many stage settings of each presentation has something to say where it is all set in different venues that play into the evolution of Jobs as a man and artist. Each segment would feature a montage of the events that occurred in between the different acts where the presentations in the second and third act would provide a much more polished film stock that doesn’t just play more in Jobs’ evolution but also him trying to prove himself even more.
Boyle’s direction would also use some unique tracking shots to play into many of the events that goes on behind-the-scenes Jobs and his crew are trying to get a presentation ready. Some of it is frenetic which plays into the demands that Jobs wants where the camera is often following him, Hoffman, and whoever but it also slows down for scenes set in the dressing rooms. Notably as it play into some of the private moments that occur between Jobs, Hoffman, Brennan, and Lisa while Boyle would also create some flashback scenes which play into Jobs on the rise and the fall he would suffer once he is fired from Apple. By the time the film reaches its third act with the upcoming launch of the iMac, the look is much brighter but the tension is still there as it plays into some of the dramatic elements of the film as well as how far Jobs has become where he is finally about to achieve some success. Overall, Boyle creates a compelling yet stylish film about one of the greatest figures in the world of computers.
Cinematographer Alwin H. Kuchler does amazing work with the film‘s cinematography as it each act and presentation has a different and distinctive look from the colorful yet grainy look of the first act, the more polished yet colorful look of the second act, and a much brighter and evocative look for the film‘s third act. Editor Elliot Graham does excellent work with the editing as it features some jump-cuts and other stylistic cuts including inserted montages as it help plays into Jobs‘ development as a character and the products he would create. Production designer Guy Hendrix Dyas, with set decorator Gene Serdena and supervising art director Luke Freeborn, does brilliant work with the set design for each of the presentation of the auditoriums where Jobs would present his new creations as it helps establish a mood for each sequence as well as the locations of these auditoriums.
Costume designer Suttriat Anne Larlab does nice work with the costumes as it is mostly casual though it does evolve over time as it includes some of the hippie-style clothes Chrisann wears. Makeup designer Ivana Primorac does fantastic work with the look of Jobs as well as Hoffman throughout the years as well as the other supporting characters. Visual effects supervisor Adam Gascoyne does terrific work with some of the visual effects as it‘s mostly minimal for some of the big presentations. Sound designer Glenn Freemantle does superb with the sound to play into frenzy of the crowd awaiting for the product unveilings as well as some key scenes in the conversations and backstage areas. The film’s music by Daniel Pemberton is wonderful for its orchestral-based score as it features an array of different themes for each act and presentation where some of it is operatic and some of it is low-key while the music soundtrack largely features music from Bob Dylan, the Macabees, and the Libertines.
The casting by Francine Maisler is incredible as it features a few notable small roles from John Ortiz as the journalist Joel Pforzheimer, Adam Shapiro as the software engineer Avie Tevanian for the film’s third act, and Sarah Snook as one of Jobs’ key collaborators in Andrea “Andy” Cunningham. In the dual of roles as the younger versions Lisa Brennan-Jobs, Makenzie Moss and Ripley Sobo both bring excellent performances in their respective roles as the five and nine-year old versions of Lisa where they provide the innocence of a young girl who wants to get to know her father. As the 19-year old Lisa, Perla Haney-Jardine is fantastic as the young woman who reluctantly wants to talk to her father as she deals with his attempts for a reconciliation. Michael Stuhlbarg is superb as the programmer/engineer Andy Hertzfield who was part of the Apple II team as he tries to help Jobs with some last minute things for the MacIntosh presentation as well as comment on some of the things in Jobs’ own life including Lisa.
Katherine Waterston is brilliant as Chrisann Brennan as Jobs’ former girlfriend who reluctantly shows up to the first two presentations asking for money as well as acknowledging that he’s Lisa’s father. Jeff Daniels is amazing as John Sculley as Apple’s CEO for the first two acts who deals with Jobs’ lavish presentation as well as being the scapegoat of getting Jobs out of Apple where he tries to get Jobs to admit his own wrongdoings that forced him out of Apple. Seth Rogen is remarkable as Steve Wozniak as the co-founder of Apple and the brainchild behind the Apple II as he tries to be Jobs’ friend but also want him to acknowledge the Apple II team for what they’ve done for the products Jobs would create for Apple in the coming years.
Kate Winslet is phenomenal as Joanna Hoffman as Jobs’ right-hand woman who is the film’s conscience as she tries to get everything ready while being the one person who tries to get Jobs to establish a relationship with Lisa as well as do what is right for him. Finally, there’s Michael Fassbender in a magnificent performance as the titular character as this man who sees himself as an artist in the world of personal computers as he tries to give the world the best product possible while dealing with his ego as well as his personal life as Fassbender isn’t afraid to make Jobs un-likeable as well as display some humanity into the character as it’s one of Fassbender’s finest performances to date.
Steve Jobs is a tremendous film from Danny Boyle that features an outstanding performance from Michael Fassbender in the titular role. Along with a great supporting cast as well as some beautiful imagery and Aaron Sorkin’s inventive screenplay. The film is a provocative yet ravishing portrait of one of the great figures of the 20th and 21st Century who changed the world with technology as well as someone who was also very complicated professionally and personally. In the end, Steve Jobs is a spectacular film from Danny Boyle.
Danny Boyle Films: Shallow Grave - Trainspotting - A Life Less Ordinary - The Beach - 28 Days Later - Millions - Sunshine - Slumdog Millionaire - 127 Hours - Trance - T2 Trainspotting - (Yesterday (2019 film))
© thevoid99 2015
Based on the essay Suspiria de Profundis by Thomas De Quincey, Suspiria is the story of an American ballet student who attends a German ballet academy as she deals with its surroundings and a series of strange events. Directed and narrated by Dario Argento and screenplay by Argento and Daria Nicolodi, the film is an exploration into the supernatural and a woman who goes into the unknown as she copes with fear of this unknown. Starring Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bose, Alida Valli, Udo Kier, and Joan Bennett. Suspiria is a rapturous yet terrifying film from Dario Argento.
A young American ballet student arrives in Munich to attend a prestigious ballet academy where she encounters a series of strange events that led to the deaths of a few who either left the academy or were forced out. It’s a film that plays into a woman who wonders if this academy that she was asked to be in has some kind of secret where the first thing she sees on her arrival is a young woman leaving in terror as she screams some words during the rain. The film’s screenplay by Dario Argento and Daria Nicolodi doesn’t exactly play into traditional horror as it’s more about Suzy Bannon (Jessica Harper) coping with her surroundings but also the strange events that is happening where her roommate Sarah (Stefania Casini) believes that something is going on. Especially when certain things happen around Munich to a few characters as it seems like the ones who are killed are those who have antagonized someone in the academy. It adds to the since of intrigue and suspense where Suzy would ask questions about what is going on just as the pile of deaths start to get bigger.
Argento’s direction is very mesmerizing for not just the usage of the anamorphic lenses which captures a great depth of field of the rooms at the academy. It also helps establish a world that is unlike anything from its usage of the locations in Munich to the places some of the characters go to. Much of it is presented in a very stylish manner with lots of red as a backdrop of sorts as well as some lavish colors in some of the hotels and places where the film takes place. Argento’s approach to wide shots as well as some intricate dolly, tracking shots, and some stylish crane shots help play into the atmosphere of some scenes where it’s not about the suspense or horror but rather to play into what these characters are doing at the ballet studio. Even a simple scene where a child stares at a blind man’s dog would have a lot to say but would also create moments to slowly set-up the suspense.
The scenes of terror such as a sequence early in the film where this young woman named Pat (Eva Axen) who had just left the academy ponders what is chasing her. The moments of terror are swift as red definitely serves as a symbolic color not just because it’s the color of blood but also something much more. Argento’s approach to using colored lights help add to the atmospheric tone of the film while knowing where to play with the rhythms of suspense. Especially in the film’s climax where Suzy is forced to wonder what is really going on in this academy as it slowly unveils itself as there is also that sense of dread of something bad is about to happen. Overall, Argento crafts an intoxicating yet unsettling film about a young woman who goes to a place where dark things happen that she doesn’t know about.
Cinematographer Luciano Tovoli does incredible work with the film‘s cinematography with its usage on lights and color for many of the interior scenes including the ones set at night as it adds a lot to the look and tone of the film as it is one of the film‘s major highlights. Editor Franco Fraticelli does excellent work with the editing with its usage of jump-cuts and other stylish cuts to help play into the film‘s suspense and horror. Production designer Giuseppe Bassan does fantastic work with the design of the apartment the character Pat goes to early in the film as well as the look of the academy in its interior/exterior settings. Costume designer Pierangelo Cicoletti does brilliant work with the costumes as they all have an air of style to distinguish some of the characters including the very innocent Suzy who wears simple dresses and other clothes to play into her personality.
Makeup supervisor Pierantonio Mecacci does terrific work with the makeup for some of the characters including those who get killed in some of the most gruesome ways. The special effects work of Germano Natali are superb for some of the key elements that play into some of the film‘s terrifying moments including a very chilling scene at a plaza. Sound recordist Mario Dallimonti and the sound effects work of Luciano Anzellotti do amazing work with the sound as it helps create an air of suspense and atmosphere into some of the scenes as well in some of the film’s quieter moments. The film’s music by Dario Argento and the progressive rock band Goblin is phenomenal as it is another major highlight of the film with its discordant approach to progressive rock with its haunting keyboard textures, bombastic percussions, chilling string pieces, and all sorts of arrangements as doesn’t just help play to the horror but manages to do a lot for the film as it is one of the finest scores in horror.
The film’s remarkable cast include some notable small roles from Franca Scagnetti as a mysterious cook, Jacopo Mariani as a young boy living at the academy named Albert, Eva Haxen as the student who fled the academy in Pat Hingle, Barbara Magnolfi as the vivacious ballerina Olga, Udo Kier as a psychologist Suzy talks to about what is happening, and Rudolph Schundler in a superb performance as Professor Milius as a man who tells Suzy what he might know about what is happening at the academy. Miguel Bose is terrific as the silent but chilling servant Mark who always deliver food and wine to Suzy during her illness while Flavio Bucci is excellent as the blind pianist Daniel who gets accused of having his dog attack Albert.
Joan Bennett is fantastic as the academy co-director Madame Blanc as this mysterious woman who starts off as very kind and always listening to Suzy but has an element of ambiguity that makes her more compelling. Alida Valli is brilliant as Miss Tanner as this dance instructor who is stern but fair as she is also very ambiguous while being very antagonistic towards those who either question or criticize the academy. Stefania Casini is amazing as Sarah as a ballerina who believes something is up as she tries to figure out what is going on while giving notes to Suzy in case something happens to her. Finally, there’s Jessica Harper in a remarkable performance as Suzy Bannon as an American ballet student who arrives at this mysterious academy where she becomes ill as she wonders what is going as it’s a performance that does contain the conventions of horror but also one that is engaging.
Suspiria is a magnificent film from Dario Argento. Filled with a great ensemble cast, exotic visuals, intricate art direction, and a hellacious score by Goblin. The film is truly not just one of the finest films for the horror genre but also one that isn’t afraid to be style over substance. Especially as it plays into a heightened sense of reality where no one is safe and everything could be some form of dark reality with lots of blood. In the end, Suspiria is an outstanding film from Dario Argento.
Dario Argento Films: (The Bird with the Crystal Plumage) - (The Cat o’ Nine Tails) - (Four Flies on Grey Velvet) - (The Five Days) - (Deep Red) - (Inferno) - (Tenebrae) - (Phenomena) - (Opera (1987 film)) - (Two Evil Eyes) - (Trauma (1993 film)) - (The Stendahl Syndrome) - (The Phantom of the Opera (1998 film)) - (Sleepless (2001 film)) - (The Card Player) - (Do You Like Hitchcock?) - (The Mother of Tears) - (Giallo) - (Dracula 3D)
Related: Suspiria (2018 film)
© thevoid99 2015
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
Directed by Alfred Hitchcock and written by Frederick Knott from his own play, Dial M for Murder is the story of a man who plots to have his wife killed not just for her extramarital affair but also to inherit some money. The film is an intriguing story in which man conspires with another to have his wife killed where the plan suddenly goes wrong which forces him to find ways to get his wife’s money. Starring Ray Milland, Grace Kelly, Robert Cummings, Anthony Dawson, and John Williams. Dial M for Murder is a splendid and riveting film from Alfred Hitchcock.
The revolves around a former tennis pro who learns that his wife’s old lover has returned to Britain where he conspires with an old friend to have her killed so he can gain her inheritance as well as humiliate her lover. It plays into a man who knows that his socialite wife is having an affair but doesn’t want her to know that he knows where he would do whatever to humiliate her and have her money. Once the murder takes place, something does go wrong but the character Tony Wendice (Ray Milland) would find a way to still profit from these misfortunes as he would charm and talk his way to the authorities including Chief Inspector Hubbard (John Williams) about what had happened.
The film’s screenplay by Frederick Knott largely takes place in the apartment home of Wendice and his wife Margot (Grace Kelly) where Wendice would do his conspiring as well as where the murder, investigation, and aftermath would occur. It’s a film with a very intimate setting with few scenes set outside of the apartment as there’s also some very stylish dialogue that doesn’t just drive the story but also pinpoint key moments in what is to happen and such. Knott’s script also helps play into the suspense where its first act is about Wendice conspiring with old college friend Captain Lesgate (Anthony Dawson) where it would involve some blackmail as it becomes clear in how much in control Wendice is. The second act is about the murder and its aftermath where Hubbard is in control as it raises a lot of question as Margot’s lover Mark Halliday (Robert Cummings) believes something isn’t right as he knows about these things since he is a writer.
Alfred Hitchcock’s direction is very engaging for the intimacy that he creates where there are a few scenes shot on location in London yet most of it is shot inside the apartment. While Hitchcock does maintain a sense of intimacy and theatricality into the setting, he also infuses it with some stylistic shots such as some unique crane high camera angles, slanted angles, and other moments to help play into the sense of mystery and intrigue. Hitchcock’s usage of close-ups and wide shots would also play into that air of high drama and suspense as it relates to Margot and how she is caught off guard in her husband’s scheme. The way Hitchcock would play up the murder scene just adds to his mastery of suspense as it’s a slow build-up where something does happen but he also finds a way to subvert it. Even in the aftermath where Hubbard takes control as he figures out every scenario that occurs where Hitchcock knows how to frame him and everyone else in these scenes. Especially for the third act where he and Halliday both go into their own investigations as it plays to what was at the crime scene and what wasn’t. Overall, Hitchcock crafts a very gripping yet intelligent film about a man’s plan to have his wife killed for greed and revenge.
Cinematographer Robert Burks does excellent with the film‘s colorful cinematography to play into the look of London in some of its exteriors while using some unique lighting schemes and mood for the scenes set at night in the apartment. Editor Rudi Fehr does fantastic work with the editing with its usage of rhythmic cuts for some of the conversations along with some stylish cuts to play into its suspense. Art director Edward Carre and set decorator George James Hopkins do amazing work with the design of the apartment and its rooms as well as some of the apartment halls which add to the sense of intimacy throughout the film.
The sound work of Oliver S. Garrettson, Stanley Martin, and Robert G. Wayne do terrific work with the sound to help play into the atmosphere of the suspenseful moments as well as the very quiet moments in the film. The film’s music by Dimitri Tiomkin is superb as its lush orchestral score play into the drama along with some eerie themes for its suspenseful moments.
The film’s cast includes some notable small roles from Leo Britt as a storyteller at a party Wendice and Halliday go to, Patrick Allen and George Leigh as a couple of detectives aiding Hubbard, and Robin Hughes as the police sergeant who helps Hubbard in the film’s climatic third act. Anthony Dawson is excellent as Wendice’s old friend Captain Lesgate who is asked to kill Margot in exchange for not having his identity revealed over his criminal activities. John Williams is amazing as Chief Inspector Hubbard as the man who investigates the murder as he tries to figure out every scenario but also see what he overlooked as it’s a very fun and witty performance.
Robert Cummings is fantastic as Mark Halliday as a writer who is also Margot’s lover as he tries to figure out what is going on as he knows something isn’t right about what had happened. Grace Kelly is brilliant as Margot Wendice as a socialite who is unaware of what her husband wants to do as she spends time with Halliday which would play into the target on her back. Finally, there’s Ray Milland in a marvelous performance as Tony Wendice as a former tennis pro who conspires a plan to kill his wife in not only getting revenge on her but also take her inheritance as it’s a performance full of charm as it allows him to bullshit his way through everything as it’s just a fun performance to watch.
Dial M for Murder is a remarkable film from Alfred Hitchcock. Featuring a great cast, a compelling premise, and some stylish yet intimate direction, the film is definitely one of Hitchcock’s finest films. Especially in the way he manages to find ways in playing with the ideas of suspense and plotting. In the end, Dial M for Murder is a phenomenal film from Alfred Hitchcock.
Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - The Lady Vanishes - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - Suspicion - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - I Confess - Rear Window - To Catch a Thief - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)
© thevoid99 2015
The Following is part of Bubbawheat’s 31 Days of Tales from the Crypt Blog-a-thon that celebrates the HBO horror-comedy series that ran from 1989 to 1996.
Based on the EC horror comic The Haunt of Fear, On a Deadman’s Chest is an episode of the HBO horror series Tales from the Crypt which is the story of a rock star who gets a tattoo of a woman he hates where the tattoo would suddenly come to life and scare him. Directed by William Friedkin and teleplay by Larry Wilson, the episode plays into a man trying to get rid of the one thing that he believes is destroying his band. Starring Yul Vasquez, Sherrie Rose, Tia Carrere, Paul Hipp, Heavy D, Steve Jones, and Gregg Allman. On a Deadman’s Chest is a wild and terrifying episode of Tales from the Crypt.
The episode revolves around a singer for a popular hard rock band who has issues with his guitarist’s new wife as he fears she’ll break up the band. At the suggestion of a groupie, the vocalist Danny Darwin (Yul Vasquez) meets a mysterious tattoo artist who would make a tattoo of the woman he hates which he doesn’t know about as it starts to come to life where he tries to find ways to get rid of it. It’s an episode in which a man’s hatred for a woman and his friend’s newfound happiness drives him to do something drastic as it relates to this mysterious tattoo he receives. The script plays into Danny’s obsession with getting rid of Scarlett (Tia Carrere) whom he thinks will cause his band to break-up as he refuses to listen to the warning of the tattoo artist Farouche (Heavy D) who says that the tattoo he’s making is about what is under his skin and what is he thinking. Thus, it starts to get out of control as his emotions finally take its toll forcing him to do something thinking it will get rid of his problem.
William Friedkin’s direction is pretty simple for the way it plays into a rock singer dealing with the new wife in the band as he goes for some stylish shots in a few high angle crane shots while maintaining an intimacy for some of the concert scenes. Plus, there is an element of dark humor in the sequence where Danny gets his tattoo from Farouche as it is presented in a very gorgeous scenery shot by cinematographer Rick Bota. Things do intensify once Danny tries to get rid of the tattoo through plastic surgery but things don’t work as it becomes a moment of paranoia where Robert DeMaio’s editing help play into that air of suspense. Even as the mixture of Merl Saunders’ rock and electronic score and some gnarly special effects by Dean W. Miller help play to the climatic terror that Danny would go through. Even as there’s also a famous reference to one of Friedkin’s great films that is the name of the band Danny is leading. Overall, Friedkin creates a very fun and exhilarating episode about a man’s hatred coming back to haunt him.
The incredible cast includes appearances from Sex Pistols guitarist Steve Jones as a roadie and Gregg Allman of the Allman Brothers Band as the club owner while Heavy D is fantastic as the tattoo artist Farouche who sports an eye patch and has some mysterious things to say about his work as an artist. Sherrie Rose is superb as the groupie Vendetta who also dislikes Scarlett as she tries to get Danny to chill by suggesting him to go see Farouche because of the tattoo she has on her left breast. Paul Hipp is excellent as the guitarist Nick Bosch as a musician who wants a new life with Scarlett as he deals with Danny’s antagonist attitude as well as trying to do what is right for the band. Tia Carrere is amazing as Scarlett as Nick’s new wife who feels mistreated by Danny as she just wants Nick to be happy while wanting to settle things with Danny where things don’t go well at all. Finally, there’s Yul Vasquez in a brilliant performance as Danny as this rock singer who becomes paranoid over his bandmate’s new life as he thinks Scarlett will break up the band where things go wrong after he gets a mysterious tattoo.
On a Deadman’s Chest is a phenomenal episode of Tales from the Crypt from William Friedkin. With a great cast, a chilling story, and some stylish technical work, the episode isn’t just one of the most gory and scary but also one of its funniest. Especially for the intro and outro from the Cryptkeeper who manages to find humor in these stories of misfortune. In the end, On a Deadman’s Chest is a spectacular episode of Tales from the Crypt from William Friedkin.
© thevoid99 2015
Directed by John Carpenter and written by Michael and Shawn Rasmussen, The Ward is the story of a young woman who is sent to a mental institution after an arson as she is haunted by a ghost from the institution. The film is a psychological thriller set in the mid-1960s where a woman copes with not just a ghost in this institution but why is it haunting her and the other women at the ward. Starring Amber Heard, Mamie Gummer, Danielle Panabaker, Lyndsy Fonesca, Laura-Leigh, Mika Boorem, and Jared Harris. The Ward is an engaging yet flawed film from John Carpenter.
Set in 1966 rural Oregon, the film revolves a young woman who is sent to a mental hospital after burning a farmhouse where she is sent to a special ward with four other women as they’re being haunted by a ghost who was killed in the ward. It’s a film that plays into a woman dealing with her surroundings as she wonders if she is getting out as she befriends a few of the women while they deal with this ghost and why it’s after them. While the story is a simple one, it also plays into the world of psychiatry as these women are trying to deal with their illnesses and hope to get out and return to the real world. Yet, the film’s screenplay has some strange ideas for the narrative which does try to be ambiguous over the ghost that is haunting these women but there’s some flaws in there as well as some unanswered questions that alludes to a young woman who is killed early in the film. Once the story progresses and characters get killed off, the film does become formulaic where it also raises some questions as the script does have some holes about what is going on and why this ghost is after these women.
John Carpenter’s direction is very intoxicating in the way he captures the life of a group of women inside this mental ward as many of them display different personalities. Even as he starts the film off with some conventional tactics where a young woman is killed by a ghost while the main character Kristen (Amber Heard) burns down a farmhouse. Carpenter does use some unique tracking shots as well as close-ups and medium shots to maintain a sense of intimacy plus a few wide shots for stylistic reasons. Yet, he is hampered by some of the script’s flaws where it does deviate from conventional scares as Carpenter tries to keep things unpredictable and play with the rhythms of suspense. Another aspect of the film that kind of hurts it is the twist in the end as it relates to the ghost and why Kristen is a major target. Still, it does make things interesting though it does leave a lot of unanswered questions. Overall, Carpenter creates a worthwhile though underwhelming film about a woman being haunted by a ghost.
Cinematographer Yaron Orbach does excellent work with the film‘s cinematography that helps set a mood for some scenes in some of the interiors including the hallways as well as some stylish lights to play into its sense of horror. Editor Patrick McMahon does nice work with the editing where it does play into the rhythms of suspense while some of it deviates towards fast-cutting style to play in jump-scares that doesn‘t work at times. Production designer Paul Peters, with set decorator Rachel M. Thompson and art director Vincent DeFelice, does brilliant work with the design of the ward and other aspects of the hospital where it doesn‘t make itself too much like the 1960s but rather something that is cut-off from the rest of the world. Costume designer Lisa Caryl-Vukas does fantastic work with the costumes where it sort of plays into early 60s clothing as it helps distinguishes the characters and their personalities.
Special effects makeup designer Greg Nicotero and Kevin Wasner do amazing work with the look of the ghost as well as some of the eerie elements of horror in who the ghost kills. Visual effects supervisor Jason McKee does terrific work with the visual effects as it relates to the ghost and some of the eerie elements in the film. Sound designers Javier Bennassar and Leslie Shatz do superb work with the sound to help create some textures into the sound and help build up some of the suspense and terror that looms in the film. The film’s music by Mark Kilian is wonderful for its orchestral-based score that plays into some of the drama as well as help creating the air of suspense throughout the film.
The casting by Pam Dixon is remarkable as it features some notable small roles from Susanna Burney as the chief nurse in the ward Nurse Lundt, Dan Anderson as the chief orderly Roy, Sali Sayler as the young woman who is killed by the ghost early in the film, Mark Chamberlin as a sad man that often makes a visit at the hospital as if he knows someone who was there, and Mika Boorem as the young woman named Alice who would later become the ghost that would haunt the ward. Jared Harris is excellent as Dr. Stringer as the hospital psychiatrist who is trying to help Kristen and the other women in the ward as he is a character that is quite ambiguous due to his methods as he really wants to help them. Laura-Leigh is fantastic as Zoey as the traumatized young woman who acts and dresses like a young girl as she is the most innocent person in the ward.
Danielle Panabaker is superb as Sarah as the snobbish young woman who likes to flirt with the orderlies as she isn’t convinced that something is haunting the ward. Lyndsy Fonesca is wonderful as Iris as the prim drawer who likes to make sketches as she knows the rules of the ward as she is also the most cautious. Mamie Gummer is brilliant as Emily as the most outgoing of the women as she knows what is going on as she is also quite tough but also carries some guilt over what happened to Alice. Finally, there’s Amber Heard in an amazing performance as Kristen as this young woman who is sent to the asylum for arson as she copes with the ghost as she tries to find a way to deal with it and hopefully get out of the asylum as it’s a very compelling performance from Heard.
While it is very conventional and has some very weak aspects in its script, The Ward is still a good film from John Carpenter. Armed with an excellent cast as well as some dazzling visuals, the film does manage to offer something a bit different from the current wave of mainstream horror films as it is told by one of the genre’s great masters. In the end, The Ward is a terrific though very flawed film from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - Ghosts of Mars
The Auteurs #60: John Carpenter Pt. 1 - Pt. 2
© thevoid99 2015
Based on the novel Before the Fact by Francis Iles, Suspicion is the story of a woman who falls for a charming playboy as she notices that something about him is off as he is believed to be a killer. Directed by Alfred Hitchcock and screenplay by Samson Raphaelson, Joan Harrison, and Alma Reville, the film is a romantic-psychological thriller that plays into a woman who is the last person that catches the eye of a playboy which only adds to their offbeat yet troubling relationship. Starring Cary Grant, Joan Fontaine, Sir Cedric Hardwicke, Nigel Bruce, Dame May Whitty, Isabel Jeans, Heather Angel, and Leo G. Carroll. Suspicion is a gripping yet riveting film from Alfred Hitchcock.
After meeting and falling for a notorious playboy/gambler, a shy heiress marries the man in hoping to find happiness until certain things in her life including people she knows start to disappear as she suspects that her husband is actually a killer. It’s a film that plays into this woman who has been very reserved in her life as she meets this renowned playboy at a train on her way home as she becomes smitten by him but with a sense of caution. Yet, their subsequent meetings turn into a romance where they elope in secrecy as their marriage becomes troubling due to the amount of gambling debts that Johnnie Aysgarth (Cary Grant) has amassed himself where Lina McLaidlaw (Joan Fontaine) becomes suspicious over the loss of a few objects. The film’s screenplay explore a woman not only becoming suspicious about her husband and what he does but also in some of things he wants to do in his life. Even as his plans to do something for himself which only makes Lina feel more confused and paranoid about what is going on following the death of her father and later a family friend.
Alfred Hitchcock’s direction is very engaging for the way it plays into a simple drama that has air of suspense and intrigue. Notably as he goes for something that is simple in some of his compositions and how he would frame his actors for a scene. While there are a few wide shots in the film which includes images of a seaside cliff, much of the direction is intimate with its usage of close-ups and medium shots where Hitchcock play into the romance as well as Lina’s anguish over Johnnie’s gambling and activities that she doesn’t know much about. The direction would maintain a sense of intrigue where Hitchcock would create some intimate conversations such as a dinner scene with a suspense writer about poison where it is about Lina’s reaction and paranoia. Even as a supporting character dies suspiciously where it plays into what could happen as Hitchcock’s mastery of suspense becomes so engrossing as it plays to a chilling climax of what could really happen to Lina and what Johnnie has been doing all along. Overall, Hitchcock creates an intoxicating yet eerie film about a woman questioning her marriage and the man she had married.
Cinematographer Harry Stradling Sr. does brilliant work with the film’s black-and-white photography where much of it is very simple to play up some of the drama and light-hearted moments but also create some unique images as well as some key lighting schemes to help create some suspense. Editor William Hamilton does amazing work with the editing with some stylish usage of dissolves as well as some rhythmic cut to plays into the suspense. Art director Van Nest Polglase and set decorator Darrell Silvera do excellent work with the design of the home that Johnnie and Lina would live in as well as some of other places they go to including the home of the suspense author.
Costume designer Edward Stevenson does fantastic work with the design of the gowns that Lina would wear in some of the social gatherings as well as the clothes she wears at home. Sound recordist John E. Tribby does terrific work in the sound to help create an air of suspense which heightens some of the drama including some of its very quiet scenes. The film’s music by Franz Waxman is wonderful for its orchestral-based score that plays into the drama with its lush string arrangements along with some eerie pieces for its suspenseful moments.
The film’s phenomenal cast include some notable small roles from Lumsden Hare as Inspector Hodgson, Vernon Downing as Hodgson’s assistant, Gavin Gordon as the dinner guest Dr. Sedbusk who is also the brother of the author Isobel, Reggie Sheffield as Lina’s dance partner at a ball early in the film, Isobel Jeans as a friend of Johnnie early in the film, Auriol Lee as the suspense author Isobel Sedbusk, and Leo G. Carroll as Johnnie’s cousin Captain George Melbeck who would give Johnnie a job which wouldn’t go for very long. Heather Angel is terrific as Johnnie and Lina’s maid Ethel who takes care of their home as she wonders what is wrong with Lina. Sir Cedric Hardwicke and Dame May Whitty are excellent in their respective roles as Lina’s parents General and Mrs. McLaidlaw as a couple who are befuddled by Johnnie as the former is the most suspicious of the two.
Nigel Bruce is brilliant as Gordon Cochrane “Beaky” Thwaite as a friend of Johnnie who tries to assure Lina that everything is alright just as he and Johnnie are planning something that will help them financially. Cary Grant is amazing as Johnnie Aysgarth as a playboy/gambler who falls for the shy Lina as he tries to cope with the changes in his married life while secretly doing things in an attempt to start something new for himself. Finally, there’s Joan Fontaine in a remarkable performance as Lina McLaidlaw as this shy heiress who falls for a man with a notorious reputation yet sees the good in him until certain activities and things that he do arouses some suspicion which would play into her anguished performance as it’s really one of the film’s highlights.
Suspicion is a sensational film from Alfred Hitchcock that features incredible performances from Cary Grant and Joan Fontaine. The film isn’t just one of Hitchcock’s more intriguing suspense-dramas but also a study of identity and marriage which would play into a woman dealing with who she has married. In the end, Suspicion is a marvelous film from Alfred Hitchcock.
Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - The Lady Vanishes - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - I Confess - Dial M for Murder - Rear Window - To Catch a Thief - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)
© thevoid99 2015
Based on the novel Vampire$ by John Steakley, Vampires is the story of a group of vampire hunters who are trying to protect a sacred cross from the very first vampire ever created. Directed and scored by John Carpenter and screenplay by Don Jakoby, the film is a mixture of horror and the western where it revolves around a group of Catholic-sanctioned vampire hunters who are trying to protect the world as they battle a very powerful vampire. Starring James Woods, Daniel Baldwin, Sheryl Lee, Maximilian Schell, and Thomas Ian Griffith. Vampires is a funny yet adventurous film from John Carpenter.
Under the order of the Vatican, a group of vampire hunters try to hunt vampires in the American Southwest as they look for a master vampire who is trying to find a sacred cross to finish up a ritual. At the same time, they try to protect a hooker who was bitten by the master as she has a psychic connection with the master just before she is to turn. It’s a film with a simple plot where there’s not a lot that goes on as it has this strange mix of horror, terror, and the western as it’s lead character Jack Crow (James Woods) is a man who hates vampires as he has no problems killing them for the Catholic church or for anyone. The script doesn’t go for anything that is serious while it does have some exposition about the cross and what the vampire Valek (Thomas Ian Griffith) wants. Yet, it does manage to help tell the story and play into the many motivations of Crow and his team where they also have to use Katrina (Sheryl Lee) to see what Valek is up to.
John Carpenter’s direction definitely pays tribute to the world of the western as it is shot on location in New Mexico where it doesn’t just play to a world where there are still rules of what to do. It also showcases that even though Crow and his gang will do things that not everyone will be pleased by, they get the job done and party afterwards as they know that people wouldn’t have to worry about vampires. Carpenter’s approach to the compositions are simple while he does create some unique wide shots and framing to play up the feel of the western. Even as he creates sequences that are gratuitous with lots of violence as he harkens back to something where it is wild and not to be taken seriously. Even in the way he approaches his music score as its mixture of rock and country play into that sense of unruliness that is the West. Even as its climax does play like a showdown between Crow and Valek for the sake of the world. Overall, Carpenter creates an exciting and off-the-wall film about vampire hunters.
Cinematographer Gary B. Kibbe does excellent work with the film‘s cinematography as it has this element of the West with its naturalistic look of the skylines as well as scenes in the desert while using some stylish lights for scenes set at night. Editor Edward. A. Warschilka does fantastic work with the editing with its approach to rhythmic cutting for some of the action scenes along with some stylish montages for a few moments that play into Crow‘s sense of duty as a vampire slayer. Production designer Thomas A. Walsh, with set decorator David Schlesinger and art director Kim Hix, does terrific work with the look of the hotel/motel rooms Crow and his friends stay at as well as some of the design of the churches that Valek goes to kill.
Costume designer Robin Michel Bush does nice work with the costumes as it is mostly casual with the exception of the all-black clothes that Valek wears. Special effects makeup designers Howard Berger, Robert Kurtzman, and Greg Nicotero do amazing work with the look of the vampires in their scary state as well as what happens to them when they‘re killed. The special effects work of Gene Grigg, Darrell Pritchett, and Corey Pritchett do superb work with the special effects for scenes where the vampires get burned by the sun. Sound editor John Dunn does wonderful work with the sound as it plays into some of the sound effects and sound textures for many of the film’s action scenes.
The casting by Reuben Cannon and Eddie Dunlop do brilliant work with the casting as it includes some notable small roles from Henry Kingi, David Rowden, Clarke Coleman, Thomas Rosales Jr., Cary-Hiroyuki Tagawa, and Mark Boone Junior as members of Crow’s crew as well as Gregory Sierra as Father Giovanni as another member of Crow’s screw who is their spiritual advisor. Tim Guinee is terrific as Father Guiteau as a young priest who joins Crow in finding Valek as he would also provide some information about the relic that Valek wants. Maximilian Schell is excellent as Cardinal Alba as the liaison for the Vatican who is also Crow’s superior as he warns Crow about going too far.
Thomas Ian Griffith is superb as Valek as one of the very first vampires ever created as he is searching for a cross as he also knows who Crow is and how determined as it’s a role filled with some charm despite the lack of dialogue he’s given. Sheryl Lee is fantastic as Katrina as a hooker who is bitten by Valek as she is one person that knows where Valek is through a psychic connection as she also copes with losing her humanity. Daniel Baldwin is brilliant as Anthony Montoya as Crow’s partner-in-crime who is tasked in watching over Katrina as he falls for her despite the fact that she’s becoming a vampire. Finally, there’s James Woods in an incredible performance as Jack Crow as a vampire slayer who doesn’t take shit from anyone though he knows he has a moral code to follow as he copes with trying to find and kill Valek where Woods brings in a lot of charm and wit that makes his performance so fun to watch.
Vampires is a stellar film from John Carpenter that features a great performance from James Woods. While it is flawed in some ways due to its lightweight script and lots of exposition, it does make up for it thanks in part to its cast as well as some cool action sequences. In the end, Vampires is a wonderful from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Ghosts of Mars - The Ward
The Auteurs #60: John Carpenter Pt. 1 - Pt. 2
© thevoid99 2015
Directed by Lesli Linka Glatter and written by Harley Peyton and Robert Engels, the fourteenth episode of Twin Peaks entitled Demons revolves in the aftermath of Audrey Horne’s rescue Special Agent Cooper, Sheriff Truman, and Hawk where Cooper has a revelation about the rescue. Even as he informs Benjamin Horne that he’s rescued Audrey where there is some concern from Audrey about her father knowing about his involvement in One-Eyed Jack’s. It’s an episode where there’s some closure in some storylines but more intrigue emerges as a major break occurs as it relates to the mysterious character called BOB. The sense of drama and suspense that looms in the episode as well as the aftermath of Donna Hayward and Maddy Ferguson’s attempt to retrieve Laura Palmer’s secret diary from Harold Smith would also have some revelations for the young women as Maddy decides to return home.
For Donna, the attempt would have her talk to Sheriff Truman about the attempt as she was saved by James Hurley who had no involvement though he is still under Truman’s watch. Arriving into Twin Peaks is Cooper’s superior Gordon Cole (David Lynch) who arrives with some news about Cooper’s former partner where Cole’s appearance as a man that is highly-deaf and wearing earphones with a machine attached to adds to many of the quirky elements of the episode. Especially as he talks very loudly with whoever he talks to as that person where it creates a few awkward moments but also some chilling moments. Most notably the ending where Hawk had finally captured the one-armed man Gerard who would convey a message from the spiritual world as revealed a lot about BOB as well as some key clues to who could be Laura Palmer’s killer.
That sense of drama and suspense also plays into Josie Packard’s own storyline as she is leaving Twin Peaks to return to Hong Kong under the threat of Jonathan where she makes a deal with Benjamin Horne and says goodbye to Truman who professes his love for her. It adds to a lot of what is going on as Horne’s attempt to deal with Mr. Tojamura becomes difficult as Leland Palmer has returned to work full time where his eccentric behavior becomes a liability. It’s among these serious moments that occur in the episode which includes Leo Johnson return in his vegetative state where Shelly and Bobby learn about how much money they’re getting where the outcome is disappointing. It’s among the moments in the episode that are intense yet is balanced by its humor such as the Gordon Cole character and a small subplot where Ed Hurley copes with Nadine’s newfound super-strength.
Demons is a superb episode of Twin Peaks from Lesli Linka Glatter as it’s an episode that not only maintains its offbeat tone but also adds a lot of stakes into what is happening as it relates to Laura Palmer’s death. Even as some big things are emerging while those in the small town of Twin Peaks are either benefiting or suffering from the outcome of her death. In the end, Demons is an excellent episode of Twin Peaks from Lesli Linka Glatter.
Twin Peaks: Season 1: Pilot - Episode 1 - 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 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
Written and directed by Brian De Palma, Raising Cain is the story of a child psychiatrist who starts to unravel by his wife’s affair with another man as well as her concerns over the way he is raising their daughter. The film is an exploration into the world of duality where a man’s obsession in how to raise his daughter forces him to confront his own demons. Starring John Lithgow, Lolita Davidovich, Steven Bauer, Frances Sternhagen, Gregg Henry, Gabrielle Carteris, Tom Bower, and Mel Harris. Raising Cain is a gripping yet stylish film from Brian De Palma.
The film revolves around a respected child psychologist whose demons relating to his father has come back to haunt him as he’s being asked by his father and twin brother to kidnap children for an experiment as he becomes more undone by his wife’s affair with another man. It’s a film that plays into a man being forced to take part in these killings of young mothers for his father as he deals with not just his twin brother but also other aspects of his personality as he becomes very attached to his own daughter. Brian De Palma’s screenplay doesn’t just explore the world of multiple personalities but also what drives a man to be undone by the fact that his marriage isn’t great as well as his own need to be too attentive towards his own daughter.
Adding to this chaos are the people Dr. Carter Nix (John Lithgow) is surrounded by including his own father and twin brother called Cain. Once Nix suspects his wife Jenny (Lolita Davidovich) is having an affair, Cain would take matter into his own hands where it’s second half plays into not just the investigation of these murders and kidnapping. It also plays into Nix’s own background and the experiments that his father did.
De Palma’s direction is engaging for the way he plays into a man coming undone by his family and their traits as De Palma doesn’t just go for stylish compositions but also play with the rhythms of suspense. Notably as De Palma goes for slanted angles and intricate tracking shots to play with some of the investigation and chaotic moments in the film. Among these sequences include one where Jenny is trying to bring a gift for her former lover Jack Dante (Steven Bauer) as it plays into these moments into where it blurs the idea of reality and fantasy. It plays to De Palma not only messing around with the schematics but also spend some of the second half where it’s about the world of duality and identity. Most notably a scene where police detectives talk to a former associate of Nix’s father in Dr. Waldheim (Frances Sternhagen) as it is told in this intricate tracking shot from a steadicam where Waldheim talks about what Nix’s father was doing and why there should be concern for Carter.
The film’s third act doesn’t just become about Carter but also plays into the experiments of his father where a lot is revealed but in a slow burn where it doesn’t rely on exposition but also a lot of guessing. At the same time, De Palma doesn’t go for anything that is conventional in terms of presenting the smaller characters as detectives prove to be quite competent as well as smart though they’re also flawed. Yet, the climax would prove to be inventive where De Palma wouldn’t just use some amazing compositions in the way he puts actors in the foreground and others in the background. It’s also in the way he would foreshadow something as well as create something that is lavish in something that could be very simple. Even in the way De Palma plays with twists and turns while creating moments that serves as a homage to classic horror/suspense films. Overall, De Palma creates a very lurid yet exciting film about a child psychologist falling apart over his marriage and dark family traits.
Cinematographer Stephen H. Burum does excellent work with the film‘s cinematography for may of its intricate lighting schemes for the scenes set at night as well as in its interior settings as it helps sets a mood for the film. Editors Paul Hirsch, Robert Dalva, and Bonnie Koehler do amazing work in the editing as it has some very offbeat rhythms to play with its suspenseful moments while creating some inventive montages that subvert the expectations in the concept of suspense. Production designer Doug Kraner, with set decorator Barbara Munch and art director Mark Billerman, does fantastic work with the look of Dr. Nix‘s home as well as the hotels and other places the characters go to including the police base.
Costume designer Bobbie Read does nice work with the costumes from the stylish clothes of Cain to some of the more casual yet clean clothes of the many other characters in the film. Sound editors John Morris and Jerry Ross do terrific work with the sound in the way some of the little moments in the locations sound as well as some of the mixing to help build up the suspense. The film’s music by Pino Donaggio does brilliant work with the film‘s score with its soaring orchestral score to play into the suspense and drama that is filled with lush strings as it’s a major highlight of the film.
The casting by Pam Dixon is superb as there’s some notable small roles from Gabriele Carteris as a babysitter, Teri Austin as a friend of Jenny’s, Mel Harris as a mother Dr. Nix meets with early in the film, Amanda Pombo as Dr. Nix and Jenny’s daughter Amy, and Barton Heyman as a retired detective who investigated a case involving Nix’s father. Gregg Henry and Tom Bower are excellent as two detectives who investigate the case of the murders and disappearing children where they’re initially dismissive about Dr. Nix and his claims until they realize that something isn’t right. Frances Sternhagen is fantastic as Dr. Weldheim as a former associate of Dr. Nix’s father who always suspected something about the studies that Dr. Nix’s father had done as she believes that these kidnappings have something to do with it.
Steven Bauer is terrific as Jack Dante as a widower of one of Jenny’s patients who is deeply in love with Jenny as he wants to rekindle a love affair only to be targeted by Cain. Lolita Davidovich is amazing as Jenny as a doctor who becomes concerned about her husband’s behavior and attentiveness towards their daughter as she finds solace in Jack which prompts her to confront Jack. Finally, there’s John Lithgow in an incredible performance in a series of roles from the very caring yet cowardice Carter where Lithgow is full of fright to the dark charm that is Cain where Lithgow is always cool and isn’t afraid to mock Carter. Lithgow also plays their father in a Scandinavian accent who orders Carter and Cain to do the job as it’s a performance where Lithgow is enjoying himself as he puts on a show that is fun to watch.
Raising Cain is a marvelous film from Brian De Palma that features a tour-de-force performance from Brian De Palma. Along with a strong supporting cast, dazzling visuals, and a sumptuous score by Pino Donnagio, the film is definitely one of De Palma’s more bawdy and entertaining films. In the end, Raising Cain is a thrilling and exhilarating 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 - 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 - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))
© thevoid99 2015
