In the early 1970’s, then New York Governor Huge Carey appointed a state special prosecutor to investigate judiciary corruption known to be running rampant within the state. The man selected was Maurice Nadjari. He was looked at as a warrior, a lone wolf, a white knight hero going up against a corrupt system. And at the time in New York there was plenty of corruption to go around. Nadjari began to indict one judge after another. Continue reading →
I always have this emotional punch in the gut when I watch Brian DePalma’s Casualties of War. It leaves me drained and brings back memories that are best left forgotten. I was not in the “front lines” in Vietnam but the exposure to war for any nineteen year old, no matter what your situation, leaves disturbing memories and worst for a lifetime. Continue reading →
Sex is disgusting, at least according to Paul and Mary Bland, the ‘heroes’ in Paul Bartel’s wonderfully perverse black comedy. The film originally premiered at the New York Film Festival in late September 1982 and a week later opened at the 69th Street Playhouse in Manhattan for a healthy run.
Starring Bartel and Mary Woronov as Paul and Mary Bland, “Eating Raoul” is about a straight laced couple, who may be duller to spend a night with than watching paint peel off a wall, are surrounded by the wild sex scene of 1980’s Hollywood. The Los Angeles apartment complex the Blands live is filled with sleazy party goers, swingers and connoisseurs of S&M. Not exactly an environment for a couple who find sex a foul deed. Among the depraved your will find Buck Henry and Ed Begley Jr. in small but memorable roles. Not surprisingly, the Blands have no children. Continue reading →
When I saw “Stardust Memories” for the first time back in 1980 (Baronet Theater in Manhattan) I was completely lost as to what Woody Allen was doing. Filled with Fellini like imagery, bizarre inhabitants straight out of Diane Arbus and seemingly resentful, bitter attacks on his fans. I found the film, to say the least, hard to swallow. I wasn’t and am not one of those folks who keep wishing Woody would trek back to his ‘funny’ early films. I actually relished his celluloid journey, his growth from dubbing a cheesy Japanese spy flick with completely new dialogue turning it into “What’s Up, Tiger Lily?’ through his early visually clumsy, but oh so funny, films like “Take The Money and Run” and ‘Bananas” to his classic “Annie Hall” and on to the Bergman like “Interiors” and the homage to his home town in “Manhattan.” Woody always seemed to be expanding his artistic horizons. At the time of its original release, I chalked up “Stardust Memories” as a failure, hell everyone is entitled to a failure now and then, right?
Now, let me just say here, I watch many of Woody’s film all the time, over and over, true some more than others, I have lost count on how many times I have seen “Manhattan,” “Bananas,” “Sleeper,” “Manhattan Murder Mystery,” “Annie Hall, “Hannah and Her Sisters,” “Broadway Danny Rose” and so on. His films are like old friends with whom you gladly sit, have a drink, and reminisce about those days gone by. The one film I never went back to was “Stardust Memories.” Frankly, until I watched it for the first time in years, just a few months ago, I remembered little about it except for the feeling of confusion I had and a why bother attitude about taking a second look. One day I found a copy at a local library and for no particular reason decided to give it another shot. All I can say is hallelujah brother! I have been seen the light and have been converted! Continue reading →
Of all the filmmakers who came to be collectively known in the 1970’s as the movie brats, Brain DePalma was the one who liked to push most the cinematic buttons of both critics and audiences. He delights in making his audience uncomfortable. With a sardonic wit and an ice cold point of view, DePalma has never been a middle of the road filmmaker, critics and audiences either love his work or hate it. He is viewed as either a violent, immoral rip-off artist who hates woman or a visionary artist who flies in the face of conservative thinking enjoying the shock and loathing his films have sometimes unleashed over the years. The more uncomfortable the audience is the better DePalma likes it. Like Alfred Hitchcock, DePalma’s films are planned well in advance with each detail written into the script. What you read is what you get, little changes. Editing is just putting the finished pieces together and not an exploration to potentially discover alternative new themes or ideas during the process.
Like Hitchcock, Brian DePalma’s films are a voyeurs’ delight. Examples abound, the slow motion dream like opening shot of the girls’ locker room in “Carrie” or the TV game show called “Peeping Tom” in “Sisters.” In one of his earlier films, “Greetings” Robert DeNiro’s character is a porn filmmaker and in “Body Double,” Craig Wasson’s Jake Scully watches a beautiful, sexy neighbor undress in front of her window. Hitchcock himself gave us “Psycho” where the camera works its way into a hotel room catching Sam Loomis and Marion Crane finishing up a lunch time affair and later just before Norman murders Marion Crane he is seen watching her through a peephole in the motel room next to hers. Hitch also gave us the ultimate voyeur movie with “Rear Window.” Continue reading →
“Broadway Danny Rose” opens at the famed Carnegie Deli located in midtown Manhattan, known for its huge Pastrami and Corned Beef sandwiches and as a well known show business hangout for many of the old time Borscht Belt comedians of yesterday. At one table dishing out old show biz stories are comedians Corbett Monica, Sandy Baron, Jackie Gayle and Will Jordan among others all playing themselves. Also in the group is Jack Rollins, Allen’s long time producer. The tales go around, back and forth, names come and go until Sandy Baron announces he has the best Danny Rose story ever. We flash back to a time not too long in the past.
Danny Rose (Woody Allen) is a fourth rate theatrical agent whose client list is filled with some of oddest acts in show business including a one legged dancer, a woman who plays musical glasses, a blind Xylophonist and a stuttering ventriloquist. Danny is a good hearted loser who believes in his clients worth no matter how bad they are. He is willing to go to the extreme to keep his acts happy and get them jobs. It’s this dedication that gets him in trouble when he becomes involved with his top client’s mistress and some unfriendly gangsters who mistake Danny as her lover. Continue reading →
“Tune on, Tune in, Drop out!” Timothy Leary once proclaimed. Albert Brooks takes it to heart and is born to be wild in his hilarious off-beat comedy, Lost in America“his third feature film as a director and writer, actually co-writer, the script was co-written with his long time writing partner, Monica McGowan Johnson. (1)
Woody Allen and Mel Brooks pretty much dominated the writer/director comedy ledger during the 1970’s and 1980’s but rising fast in the background was Albert Brooks whose first venture into filmmaking was a short called The Famous Comedian’s School originally shown on PBS. In 1975, he made a series of short films on the first season of “Saturday Night Live.” After several acting gigs including a role in Martin Scorsese’s Taxi Driver, Brooks wrote and directed his first feature-length film in 1979, Real Life, a satirical take of the on the pioneering PBS reality show, though it was not given that now dubious label, An American Family. Today, after too many years of “reality” shows that are unintentional more comical and demeaning to viewers than realistic, the film can be still be seen as a mirror to the seemingly endless number of fabricated “reality” TV shoved down our throats. Real Life had a very limited distribution and modest financial success but did launch Albert Brooks career as an important comedic writer/director.
Lost in America concerns the story of David (Albert Brooks) and Linda (Julie Hagerty) Howard, two materialistic yuppies who have good jobs and a pleasant life in California, but still do not feel fulfilled with their lives. David is expecting a big promotion to Senior Vice-President with the advertising company where he works. However, on the big day he finds out his boss has other “big” plans for him. A transfer to New York to work on a major new account…and no promotion. Continue reading →