Pike's Peak Picks
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Know I'm way late to the party, but I've decided I'm going to make one of these here threads where I post reviews and thoughts on some of my favorite flicks. I'll probably start with my current top hundred, then build from there. Eventually. I am not going to do it in a countdown style, or even alphabetically. I'll just throw 'em up randomly, one at a time, when the mood strikes me. Probably very slowly. No, no, please: hold your applause. Alphabetical running list of films reviewed .After Hours A Boy & His Dog Pennies from Heaven The Wild Bunch *to be updated with each addition |
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Nice. :up: I suspect this'll be a popular thread.
And it only took him twelve and a half years! |
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This will be dynamite Holden. I'm sure I'll get a lot of suggestions from your thread here.
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I like this; I think I'm going to get some good ideas here.
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Alrighty. Kicking it off with what is probably not the "best" Scorsese film, but may very well be my favorite...
After Hours Directed by Martin Scorsese Screenplay by Joseph Minion Cinematography by Michael Ballhaus CAST: Griffin Dunne, Rosanna Arquette, Linda Fiorentino, John Heard, Teri Garr, Catherine O'Hara, Verna Bloom, Will Patton, Dick Miller, Bronson Pinchot, Cheech & Chong 1985, approximately 97 minutes After Hours is an extremely dark comedy, a Kafkaesque nightmare of guilt and big city paranoia. The story centers on Paul Hackett (Griffin Dunne), a bored computer programmer in some nondescript Mid-town NYC office. His apartment is as drab and empty as the rest of his life. One evening while reading alone at a coffee shop Paul meets Marci (Rosanna Arquette), a sexy blond. They have a breezy, flirty talk about Henry Miller and art and whatever. She makes mention of a friend's loft in SoHo where she's staying, finds an excuse to drop the phone number into the conversation, and then she's gone. On a whim and the whiff of possible romance Paul calls her as soon as he gets home. She invites him out into the night, and though it is late and a weeknight he accepts. And so begins his odyssey. What follows is a dark, twisted, hilarious series of misadventures as things spin further and further out of Paul's control and he seems stuck in the Hell of downtown after midnight and before sunrise. The movie is populated with a multitude of intriguingly bizarre characters played to the hilt by an eclectic cast. Griffin Dunne (An American Werewolf in London) is the perfect protagonist to put through this kind of urban torture, a neurotic version of the everyman. Rosanna Arquette (Desperately Seeing Susan) simply is Marci, the hot-and-cold, always weird, but extremely sexy girl that coaxes him into this whole mess. Among the other odd denizens of the night are Teri Garr (Young Frankenstein, Mr. Mom) as a bee-hived waitress ("Do you like the Monkees?"), Cheech & Chong as a couple of roaming burglars, John Heard (Big, Home Alone) as a friendly bartender, Will Patton (No Way Out, The Postman) as a leather-bound tough guy, Catherine O'Hara ("SCTV", Best in Show) as an ice cream truck driver, and Linda Fiorentino (Men in Black, The Last Seduction) as the moody, half-dressed sculptress of Plaster-of-Paris bagel & cream cheese paperweights. Every role, no matter how small, is perfectly cast, from the cab driver to the bouncer outside the club to the token seller in the subway. The cab driver shoots a look of anger and annoyance that is so genuine I cringe and laugh every time I see it - a look I recognize instantly and all too well from personal experience. Every situation, every character, every line, every camera move is so audacious yet nuanced that you MUST watch the flick multiple times to begin to take it all in. The tone is patently unnerving. Scorsese is a master of...well, many things, including editing a film so that the audience becomes emotionally locked into what is happening on screen. In After Hours that means you are empathetic witness to a nightmare. It's an amazing movie and a whole lot of fun. As Paul gets stuck deeper and deeper into he Hellish quagmire of the SoHo district you can't help but feel for the guy - and laugh at him too. The entire plot is patently unlikely, but that's not the point. This is the stuff that surreal nightmares are made of, not pithy anecdotes. As the night rolls on and the tension builds it becomes more and more hilarious. Well, it's hilarious if you find suicide and blood-thirsty mobs to be breeding grounds for comedy. Did I mention the mob is being led by a Mr. Softee Ice Cream truck playing a tinkling jingle? This is grotesque dark humor at its finest. It's a wonderful script by Joseph Minion (Vampire's Kiss), who was an NYU student at the time. Longtime Marty collaborators Thelma Schoonmaker and Michael Ballhaus are along for the editing and cinematography chores, and Howard Shore (The Silence of the Lambs, SE7EN, The Lord of the Rings) adds a playfully haunting score. This is some of Schoonmaker's best work, right up there with Raging Bull and GoodFellas. Scorsese and Ballhaus really have some fun with stylized, exaggerated camera movement, so much so that you may want to take a Dramamine before you watch. After Hours received very mixed reviews back in 1985, but it did nab Scorsese the Best Director at Cannes, a nomination for Dunne at the Golden Globes, and it won Best Feature at the very first Independent Spirit Awards. This is a brilliant movie that still too-few people seem to know very well today, and one that I force upon folks, constantly. Usually whenever I do they are blown away and wonder why they've never heard of it. I love this movie, and for many years I never took a trip to NYC without watching it, first. http://www.youtube.com/watch?v=LnlofUNOcZ8 |
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After Hours absolutely rules. Such a fun watch and great review, Holden. I think it may just be my 2nd favorite Scorsese.
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I didn't realize Teri Garr was in Head. I'll have to finally watch this movie now just for the Monkees record.
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Teri Garr looked oh so good in Young Frankenstein. What has happened
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40 years and multiple sclerosis.
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After Hours is an awesomely surreal Scorsese film, great write up, and fun facts. I was not aware that his parents made Cameos in his films
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Great review Holden. Weirdly enough i actually watched After Hours because i seen a highly positive review from you on the Scorcese thread you made. Scorcese is my favourite director and i'd say this is my fourth best of his, after Taxi Driver,The King of Comedy and Goodfellas. Overall i thought it was a great review but this just perfectly sums the movie up for me - "Scorsese is a master of...well, many things, including editing a film so that the audience becomes emotionally locked into what is happening on screen. In After Hours, that means you are empathetic witness to a nightmare."
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Originally Posted by donniedarko (Post 1033045)
After Hours is an awesomely surreal Scorsese film, great write up, and fun facts. I was not aware that his parents made Cameos in his films
Charles has highlighted supporting roles in Raging Bull and GoodFellas. He's actually the mobster with the cane walking into the room when Tommy gets whacked out ("And that's that."), the one who slices garlic with a razor blade in prison. https://www.youtube.com/watch?v=dBW5AesgXC8 Consider that a small downpayment on my future GoodFellas review. :) . . |
Great insight on After Hours. I saw it at the movies when it came out, and I remember not thinking much of it. But I was only 14 at the time. Now, Scorsese is my favorite director, and I love dark comedy. I put it on my to see list; I feel as though it could become a favorite of mine.
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Great review. After Hours was like an out-of-body experience for me. Everything about the film is perfect.
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I think I need to buy After Hours.
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I love After Hours. Ever have a bad day? Pop this on and remind yourself it could be worse.
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Aren't you the person, Suspect, who gave me After Hours to watch in that Movie Trade Game? Someone did and I didn't watch it. I will have to correct this soon.
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I watched it last night and loved it. What a difference almost 30 years can make on how you feel about something.
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We need this now Holden-- excellent job!
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Not only does he share his favorite movies, but also few interesting facts.
After Hours was in my list of Fave movies on MoFo years ago. Only 2 Scorsese films make my favorite list, The other one is Taxi Driver. I wish Scorsese would do more Dark Comedies. Goodfellas could be considered a black comedy, but it was hardly Dark, bizarre and even surreal at times like After Hours. Not to forget the Cheech and Chong cameo. |
Holden's starting a reviews thread? Well that's just.....great. That makes me really.......happy. I'm not at all worried about the competition. I'm completely, absolutely fine with this.
I should probably just hand this award over to you right now, somehow I doubt I'll be retaining it next year.
Originally Posted by Sexy Celebrity (Post 1030063)
I'll stick with JayDee.
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Have never really understood all the love for AFTER HOURS...I liked it, but I never have considered the film to be "brilliant."
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Originally Posted by JayDee (Post 1034077)
Holden's starting a reviews thread? Well that's just.....great. That makes me really.......happy. I'm not at all worried about the competition. I'm completely, absolutely fine with this.
And everybody just FLOODS Holden Pike with positive rep. FLOODS. He'll get 30 rep points just for posting a period. Everyone treats that m*****f***** like he's a God when he's not! I am! But at least JayDee now has somebody around to make him feel like yesterday's garbage. Have fun! |
JAY
What do you look so shocked for? He does this all the time. Fat bastard thinks just because he never says anything, that it'll have some huge impact when he does open his ****ing mouth. BOB Why don't you shut up? Jesus! Always yap, yap, yapping all the time. Give me a ****ing headache. :)) |
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Next up, I'll go with the film that gave me my internet nom de plume...
http://i.imgur.com/DqQ2ks8.png The Wild Bunch Directed by Sam Peckinpah Screenplay by Walon Green & Peckinpah Story by Walon Green & Roy Sickner Score by Jerry Fielding Cinematography by Lucien Ballard CAST: William Holden, Ernest Borgnine, Robert Ryan, Ben Johnson, Warren Oates, Edmond O'Brien, Jaime Sánchez, Strother Martin, L.Q. Jones, Bo Hopkins, Emilio Fernández, Alfonso Arau, and Dub Taylor 1969, approximately 145 minutes So much blood. So much shooting. So much death. That is the reputation of Peckinpah's The Wild Bunch. It was much of its initial reaction in 1969, and it's a reputation that endures, even today. Peckinpah's name itself conjures up slow-motion ballets of squibs and gunfire. And there is no denying that is a major part of The Wild Bunch's legacy. But if the movie were just five or six reels of pulpy cinematic violence it would be a footnote and nothing more. In an age where most cable series have two times as much profanity and much more graphic violence in any single episode than The Wild Bunch does in its full running time, Peckinpah's screen violence may lose much of its potency, out of the context of its day. Why The Wild Bunch is immortal to me is not because of the celebrated/condemned violence, but due to its poetic odes to friendship, honor, and the futility of outrunning progress, all wrapped in an adventure story about laughing outlaws, daring robberies, and messy gunfights that helps to shatter many of the genre myths and attitudes that had been established in previous decades of film and television Westerns. And, yes, it surely is bloody, too. http://www.movieforums.com/community...2&d=1392162603 1913, a dusty Texas town near the Mexican border. A handful of uniformed U.S. Cavalry men ride in on horseback and enter the post office and railroad office. But they are not there to protect anything. As they draw their weapons and subdue the customers and staff, their leader, Pike Bishop (William Holden), barks out a simple, "If they move, kill 'em!" These disguised outlaws are looking to make off with a haul of silver coins, hopefully a big enough payoff to be their last score. They're getting old and tired, and the new century is about to change the world to one full of automobiles and airplanes and there will be no need for rough bandits anymore. But their heist is no secret, and a band of mercenaries lay in wait for them outside. What follows is a bloody shoot out, indiscriminately taking out more townspeople than it does the would-be robbers or the bounty hunters hired by the rail road to stop them. In addition to Pike, the surviving outlaws who escape the town are Ernest Borgnine's (Marty, From Here To Eternity) Dutch, Ben Johnson (The Last Picture Show) and Warren Oates' (Stripes, In the Heat of the Night) Gorch brothers, Edmond O'Brien's (D.O.A., White Heat) Sykes, and Jaime Sánchez (The Pawnbroker) as Angel. They escape with their lives, but not the silver: they shot their way out of town for a bunch of metal washers. The men pursuing them are led by Robert Ryan's (The Set-Up, Crossfire) Deke Thorton, a former riding partner-in-crime who went to prison and is now working, reluctantly, for the railroad. He wishes he could be on the other side with them, but he has made a deal, and being an honorable old sumbitch, he aims to keep it. Even though the two-bit mercenaries he has riding with him, including T.C. (L.Q. Jones) and Coffer (Strother Martin), are a mangy gang of scumbags who wouldn't know honor if it took a dump on them, and even though he's riding against his friends, especially Pike. http://www.movieforums.com/community...1&d=1392162823 Pike and the bunch cross into Mexico and hide out at Angel's small hometown, which they find being run by a dishonorable General Mapache (Emilio Fernández). After Angel insults the General, Pike tries to keep peace by hiring them all out to rob a train full of guns for the unscrupulous General. They know it is a deal with the Devil, but are massively outgunned and see no other way out. Plus, the General has promised them a decent amount of gold for their trouble, and they still need that score they didn't get. What follows are tests of loyalty and some spectacular action, including a train robbery and the blowing of a bridge, all leading up to one last outrageous act of defiance that is not desperate, rather simply the right damn thing to do. http://www.movieforums.com/community...1&d=1392162824 Unlike the classic Western archetypes, there are no clear "good guys" and "bad guys". Even our anti-heroes, though we root for them and they are played by familiar actors, are murderous thieves. They have a greater sense of honor than the scum around them, perhaps, but are certainly not simple white knights. They did not shoot only when shot at, they have little regard for anybody who gets in the way of their goals, and not only are they in this for the money, but they actually ENJOY robbing and living outside of the law and civilization. John Wayne was reported to have said that The Wild Bunch "destroyed the myth of the Old West". As the Vietnam War raged in Southeast Asia, Peckinpah thought some demythologizing was long overdue. Plus, so much of the popular Western, especially as it dominated the airwaves of the 1950s and '60s, was formulaic and decidedly unrealistic. With the '60s works of Sergio Leone (A Fistful of Dollars, For A Few Dollars More, The Good the Bad & the Ugly, Once Upon A Time in the West) coupled with Peckinpah's, they turned most of those conventions on their heads...and then shot them in the face. The Wild Bunch, in all of its revisionist, gory glory, is one of the towering achievements of the Western genre, and with its themes, performances and artistry, including Lucien Ballard's elegant cinematography and Jerry Goldsmith's perfect score, it transcends the genre and is a great film, period. http://www.movieforums.com/community...1&d=1392164215 http://www.youtube.com/watch?v=jwE3TfJUB48 . . |
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I'm not a huge fan of Westerns in general, but The Wild Bunch is one of the greats. It was my father's favorite movie and will most likely be on my 60's list.
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Tell me, Holden, how does it feel? Getting paid for it? Getting paid to sit back and write awesome reviews... with the Mofos arms around you? How does it feel to be so godd---- right?
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Never seen it.
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Pennies from Heaven Directed by Herbert Ross Screenplay by Dennis Potter Cinematography by Gordon Willis CAST: Steve Martin, Bernadette Peters, Jessica Harper, Vernel Bagneris, John McMartin, and Christopher Walken 1981, approximately 108 minutes In 1981, Steve Martin took an artistic risk which might have drastically changed his then-new screen image and Herbert Ross tried to reinvent the Musical for a new, post-modern sensibility. The film was Pennies from Heaven, and it was a box-office flop. A few critics sang its praises, including Pauline Kael, but by and large it was dismissed. I think it is a brilliant movie that was so far ahead of its time, and still lies mostly undiscovered. http://www.movieforums.com/community...1&d=1310677038 British television writer and novelist Dennis Potter ("The Singing Detective") had a long, successful career starting in the 1960s in the UK, and one of his biggest accomplishments was the 1978 BBC mini-series "Pennies from Heaven", starring Bob Hoskins. It tells the story of a sheet-music salesman in 1930s Britain who dreams of living out the lyrics of the songs he peddles. These rich fantasies are contrasted sharply with the darkness of his real life. Potter pared down and adapted his own eight-hour teleplay into a film screenplay, shifting the setting to Depression-era Chicago, which caught the attention of Herbert Ross, who had been on quite a roll in the 1970s, helming such projects as The Goodbye Girl, The Sunshine Boys, The Last of Sheila, The Turning Point, California Suite, The Seven-Per-Cent Solution and Play it Again, Sam. Steve Martin, fresh from mega success as a stand-up comic playing to rock-and-roll-size crowds and distilling that wild and crazy persona first to the small screen on "Saturday Night Live" and his own specials, and then into The Jerk (1979), signed on to play the dark and complicated lead. Broadway star Bernadette Peters, who was Martin's co-star in The Jerk and at the time his real-life paramour, and Jessica Harper (Phantom of the Paradise, Suspiria, My Favorite Year) would co-star, with Christopher Walken in film-stealing support. Pennies from Heaven is the musical as psychotic episode. The numbers, often elaborate set pieces, replicating the styles if not the scenes of some classic cinema Musicals, and of which Busby Berkeley himself would have been proud, are delusions that have absolutely zero to do with reality. The usual conceit of the Musical is that the song interludes further the plot and/or give voice to internal emotions of the characters. But not here. Martin's character Arthur is a bizarre and almost irredeemably amoral man, who creates a pretend morality in the music he loves and envisions. He claims, certainly to himself and by extension the audience, to be a pure romantic dreamer trying to honestly make his way in the world, but his selfish and hurtful actions tell otherwise. It's a rather brilliant concept, and to me works even better as a movie than as a TV project (though make no mistake, the BBC version is also spectacular and a must-see). Many of the film's references are to the otherworlds created by movie magic, worlds that millions flocked to during the Depression in order to delude themselves into a fantasy for part of an afternoon or evening. As Fred Astaire was floating across screens in top hat and tails, much of the audience was wondering if they could find steady work, or keep the tenuous hold on their income and possessions. So in one of Heaven's best sequences when Martin and Peters actually enter Follow the Fleet (1936), the Astaire & Rogers classic, the circle is complete, and Arthur's fantasy blends with the larger societal fantasy. http://www.movieforums.com/community...1&d=1310681051 Another stylistic risk/choice the film makes, carrying over from what was done in the TV version, is to have the actors lip-synch to the existing period tracks, rather than re-record them with these actors. Obviously stage star Peters could have done just about anything they asked, vocally, but this added layer of artifice is intentional, both making some of the song choices seem that much odder and funnier, being mouthed by the protagonists, and also not pretending these fantasies are to be taken in simple genre terms, but almost as if they were being done in front of a mirror in your attic, when nobody was home to catch you. http://www.youtube.com/watch?v=zHyWFWJV61k The look of the film is fantastic, with two basic palettes: the glitz of Hollywood and the dim of Edward Hopper. Several of his paintings are brought to life, including his most iconic, "Nighthawks". Gordon Willis, who was one of the most respected and imitated cinematographers of his era, having lensed The Godfather series for Coppola and Alan J. Pakula's All the President's Men before becoming Woody Allen's go-to collaborator on Annie Hall, Manhattan, Interiors, Stardust Memories, Zelig, The Purple Rose of Cairo and on and on, creates some stunning tableaus and homages. http://www.movieforums.com/community...1&d=1393752161 http://upload.wikimedia.org/wikipedi...opper_1942.jpg Steve Martin has had an incredibly successful and quite diverse career in film, and while he eventually worked his way into some darker and sometimes intentionally comedy-free projects a couple decades later, it was probably too early and too bizarre a project for his fanbase to accept at the time, en masse. How might his career trajectory had changed if Pennies from Heaven wound up with multiple, high-profile Oscar nominations like Picture and Director? We'll never know. http://www.movieforums.com/community...1&d=1393754081 This scene, in the next YouTube link, is a perfect example of what the film does. Christopher Walken only has one scene, really. At a particularly low point for the Peters character, she wanders into a bar on the bad side of town. The resident pimp, Walken, approaches her, buys her a drink, and offers her a job, on her back. It is tense and frightening, a cruel fate for this character who did nothing but trust the wrong man. And then, right when things look bleakest, Walken breaks into the Cole Porter tune "Let's Misbehave" by Irving Aaronson and His Commanders... http://www.youtube.com/watch?v=54iR0xFkEfQ Dark and ironic eye-candy, this is Herbert Ross' masterpiece in my book, waiting to be rediscovered. https://www.youtube.com/watch?v=RPRL3IdIcVc |
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I have never heard of Pennies From Heaven before but it interests me a lot.
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Interesting to read about the Pennies from Heaven film, I've not seen it but the original series is brilliant. Dennis Potter was a genius. I still remember the last tv interview he gave to Melvyn Bragg - Potter was dying of pancreatic cancer and didn't have long to go, in fact he has to take swigs of morphine during the interview, but he still had a lust for life. Well worth trying to watch it if you can find it.
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Well, it took over a decade, but my favorite thread on MoFo has finally appeared! If I had to choose a person not named Stanley Kubrick, Martin Scorsese, or David Lynch, who has taught me the most about film, it would have to be Holden Pike. With his seemingly endless vault of knowledge, vast film-watching experience, or never-ending passion for the art form itself, HP is a huge part of why this is THE best film site on the web. I count myself lucky to have met the dude, Ornery Sumbitch or not.
After Hours is one of my favorite comedies of all time. Great choice for a first review! I've...never seen Pennies from Heaven. I am ashamed. |
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David Lynch can teach film? Go back to school.
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After Hours was a long time one of my Dad's favorite flicks. I enjoy it too.
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I just watched Pennies from Heaven and I must say you are ABSOLUTELY right about it! It's an audacious musical, that yet has all the classic elements of the golden era in it. Herbert Ross' directing of (especially) the musical numbers is also very impressive.
I loved everything about it: the story, the music, the occasional comedy, the atmosphere, the performances, and so on and so on. I can imagine this film was way ahead of its time, though. It's full of amazing scenes and moments, but this has to be my favorite: http://www.youtube.com/watch?v=raoHt0AD-dQ Plain awesomeness! Thanks for recommending it in your thread here! I would not have discovered this flick for a very long time if it wasn't for your convincing hymn about it. |
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If I had only started this a few months ago. Maybe I could have introduced enough of you to it that it would have made the MoFo '80s list? :)
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A Boy and His Dog Directed by L.Q. Jones Screenplay by Alvy Moore, Wayne Cruseturner, and L.Q. Jones Based on the novella by Harlan Ellison Cinematography by John Arthur Morrill CAST: Don Johnson, Tim McIntire, Susanne Benton, Alvy Moore, Helene Winston, Charles McGraw, Tiger, and Jason Robards 1975, approximately 91 minutes A Boy and His Dog is an intentionally deceptive title that, with no other context, could easily conjure up images of a live-action Disney movie, either of a Jack London-type tale of surival in nature or perhaps a wacky comedy about a pooch that runs for mayor? This film is about survival, though about as far from a Disney movie as one can get. An accurate, literal title would be something more like A Teenager and His Telepathic Dog Battle Desperate Souls and Mutants for Food and Water in a Post-Apocalyptic Landscape. Tough to fit that on a marquee. http://www.movieforums.com/community...1&d=1393953077 Years after an atomic war has destroyed most of civilization and humanity, in a radioactive desert somewhere in what was the United States, Vic (Don Johnson, a decade before "Miami Vice" would make him a star) and a dog named Blood (played by Tiger, a Bearded Collie) roam the desolate area looking for supplies and food, trying to avoid danger, most of which consists of the other survivors. Blood is the brains of the outfit, smart and thoughtful, and communicates with Vic via telepathy (voiced by Tim McIntire). Blood also has other useful abilities, including an enhanced sense of smell and a radar-like ability to scan for other living things. The film never explains how Blood and some other dogs have gained this telepathic ability, and it hardly matters. But for all of Blood's advances, he can't pull the trigger on a gun or turn a doorknob, so he and Vic are partners. Vic is supposed to be seventeen or so, and is not terribly bright. An orphan who has survived in the post-apocalyptic landscape for years, he can be impulsive, and at times treats Blood's advice the way a petulant teenager would advice from his father. Much to Blood's frustration. Like many teenagers, Vic is also a little sex-crazed, and in addition to food and bullets, Blood also helps him find women to be with. The first half of the film has what are, by now, familiar scenarios of fending off groups of bandits looking to take what they want from everybody else. This film was released four years before the original Mad Max, so if it seems less elaborate than something like The Road Warrior, less dystopian than Escape from New York, and less stylized than The Book of Eli or Six-String Samurai or any dozen other movies of the sub-genre in the subsequent decades, remember that this is one of the first. http://www.movieforums.com/community...1&d=1393953013 The narrative switches gears and locales in the second half, and gets even more surreal, when Vic is lured beneath the surface by a beautiful young woman named Quilla June (Susanne Benton). He first saves from a gang and then is quickly and easily seduced by her. Post-coitus, she tells him of a better place than the murderous desert, a place where she lives. A place called Topeka. Buried deep below the ground, clearly made before the bombs started to fall, is en entire society of survivors. Their beloved Topeka is made in the fashion of Smalltown U.S.A. circa 1940-something, a funhouse mirror take on Norman Rockwell Americana. It's all gingham and denim, picnics and a marching band. Because the light is artificial and they have been underground for years at this point, all of the residents wear thick, white makeup, a Kabuki pagent resulting in the people looking like grotesque, life-sized dolls. Topeka is controlled by a three-member committee, the clear leader of which is Lou Craddock (Jason Robards). They seem to have enough food, resources, electricity and space down there to last for a generation or two, if necessary. And the next generation is exactly why Vic has been brought there. Much like the mineshaft scenario described by Doctor Strangelove at the end of Kubrick's film, there is a need for prodigious procreation! But poor Vic finds out it's not quite the Penthouse Letters orgy he may have imagined. http://www.movieforums.com/community...1&d=1393953200 "Lack of respect, wrong attitude, failure to obey authority. The Farm, immediately." A Boy & His Dog is insane, twisted, satirical and it, too, was probably ahead of its time. On their face, the action and T&A elements might have made it likely fodder for a Drive-In potboiler, but it's done with a level of wit and insanity that likely would have confused if not outright bored an audience looking for an A.I.P. style flick. And at the same time, too sleazy and nutty for the Art House circuit. The film's director, L.Q. Jones, is a well-known character actor who had been in the business for two decades, at that point, having been in dozens of television shows and, most fruitfully, part of Sam Pekinpah's stable of actors, starting with Ride the High Country (1962) and following in Major Dundee (1965), The Wild Bunch (1969), The Ballad of Cable Hogue (1970), and Pat Garrett & Billy the Kid (1973). He directed only one other movie before this, a micro-budgeted Western The Devil's Bedroom (1964), and never made another movie after A Boy & His Dog. But this one is a terrific film that has attained cult status, but too often gets left out of the discussion of Best Science Fiction films. http://www.movieforums.com/community...1&d=1393953147 https://www.youtube.com/watch?v=VYPacAuZpyA |
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Do a Top 100 list.
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Originally Posted by Sexy Celebrity (Post 1049265)
Do a Top 100 list.
That's four down, ninety-six to go. http://www.movieforums.com/community...1&d=1393957975 |
Re: Pike's Peak Picks
I watched A Boy & His Dog upon its appearance on this list, and then read your writeup (which I enjoyed :up: ). For me though the movie felt like nothing more than a decent campy apocalyptic tale. I personally enjoyed the first (pre-cult) half of the film, while the rest bored me outside of a few entertaining moments. But as you mentioned it has a selective audience.
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Re: Pike's Peak Picks
superb reviews of some excellent movies. Really love the extras you toss in!
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Re: Pike's Peak Picks
Didn't like A Boy and His Dog. Translation: it will make the 70s list.
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Re: Pike's Peak Picks
I love A Boy and His Dog. I'm glad you also appreciated it. But then again I'm not surprised. You have superb taste Holden. The review was well written, and your observations spot on.
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Re: Pike's Peak Picks
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