Bring Me The Head Of Alfredo Garcia 1974 A Movie A Day Day 35

This is one of the strangest movies I ever saw and that includes "Lost Highway" and "The Teacher". This was a contemporary western, featuring one of our finest character actors, in a role that allows him to show us his range and abilities. It comes together though like a nightmare, with bits and pieces of information floating in front of us but never quite coalescing into something fathomable. Sam Peckinpaugh was noted as a Director of violent masculine themed movies, and here he hits all the notes but they are sour. I think we are supposed to have a bad taste in our mouths after this, but it really needs to be a little more coherent. This movie has a reputation among film aficionados, and it is probably deserved, but I can't really recommend it to anyone except Peckinpaugh completists.

For years Dolores has given me a hard time about liking this movie. It is completely understandable why she would object. The main character is a disgusting slob, that sells himself out for money and doesn't really know what is going on. His girlfriend/fiance is a hooker, that really seems to love him and is maybe the one empathetic character in the film, and of course every bad thing you can imagine befalls her. Our third lead is a disembodied Lothario, responsible for impregnating a young girl, running away from her, whoring it up for three days and then dying off screen, all before he makes his first appearance as a head. Our main character Bennie, then spends days traveling around and carrying on a conversation with the dead guys noggin. Oh yeah, a whole lot of people die, some of whom deserve it and many who do not. All of this takes place in parts of Mexico that are not really on the tourist maps and that we would pay money to avoid. So the real question is, given all of that, why do I like the movie?

The number one reason I have already mentioned. Warren Oats was a guy that never became a big star, but he could make a movie better. He acts in this film, mostly with his mouth, since his eyes are covered by an ugly pair of sunglasses for 90% of the story. The character arc does allow him to grow and change as much as a man in his position could. He is not really a good guy, but by the end of the movie he is a righteous one. Compared to a slick revenge picture from today, a movie like "Taken", he seems way out of his depth. "Bennie" is not slick, he is sloppy and lucky and unlucky. He is more of the real world and therefore to a degree sympathetic despite his flaws. Oates gets some scenes of rage, self pity, romance, regret and stupidity. They do not always fit together, and there are long passages that seem like indulgences on the part of the director. Sometimes those slow moving sequences contain a gem of a moment, like the picnic under the tree, or the monologue with Alfredo in the shower. Other times they just seem slow, like Peckinpaugh is repeating the slow-motion part of the action scene in the dramatic scenes.

A second reason I like the film is the sleazy aura surrounding the characters. Not the locations, they are disgusting and not really something that hold our attention. I'm talking about the casualness with which Bennie falls in with Contract killers, who turn out to be sub-contractors for another group of contract killers. This makes "Bennie" the pilot fish of the food chain. Excited about the scraps he is going to get, and not realizing how much bigger the reward really is. Gig Young an Academy Award winner, and Robert Webber an actor we talked about before in this blog, may be gay, may be simply slumming it but they ooze silky creepiness. Their characters are in one big shootout that is set up very well and executed the way it should be. A later shootout with the higher ups has some of the same greasy slimy businesslike manner of doing things. The final shootout is an anti-climax except for the actions of the girl who bore Alfredo Garcia's bastard child.

Finally, I like the movie on general principles. It is a revenge story, which I always find satisfying. There is slow motion violence, which I first saw in The Wild Bunch and Bonnie and Clyde, and it seems so much more real and awful when it happens that way. Also, let's face it, this may be the Coolest title of a mainstream movie ever released in the English language cinema. You know what is coming at you from those seven gruesome little words.

Silent Movie 1976 A Movie A Day Day 34

I saw every Mel Brook's movie that ever came out. After Blazing Saddles, Mel Brooks was the hottest movie maker in Hollywood and his movies are usually cited by comedians around the world as an inspiration. I think Mel is hit or miss. Hit or miss not from movie to movie but from scene to scene. In some movies there is a huge amount of consistency but in others there is not That doesn't mean they are not funny but it does mean that they do not always hold together that well and they may have some flat spots. Young Frankenstein, Blazing Saddles are both solid every single bit. High Anxiety is about 75 percent. Space balls is maybe 25 percent. To me, Silent Movie falls right in the middle.

This is a funny concept, film makers with a script for a Silent Movie to be made in contemporary Hollywood. Then you do the movie in a style similar to the old silent classic comedies. You populate it with popular stars of today and then let them loose on the screen. The big problem is that none of the movie is about the Silent Movie and how it comes out. It is all about the process of trying to get big stars in the picture, but we never see any of the script as the director finally put it together. That means that at best this film is going to be a series of vignettes, with thin plot to hold them together. So here is how I felt about most of those scenes.

The opening, with the three film makers picking up a pregnant woman and having the car tip up in the air falls flat. It looks like a one joke bit stretched over a couple of minutes, finished off with a payoff that has nothing to do with what came before. I have not seen a lot of silent comedies, but the ones I have seen hold together better than this. Here they are, fifty years after the introduction of sound and the movie has less narrative and pacing than a movie from 1920. The guys mug and there is one good joke about the dialogue not matching the caption cards. Then it is on to the set up of the plot. I like Sid Caesar, but there was no punch to any of the jokes in his scenes. He makes some funny faces that have very little context to the events on the screen and then we move on. The best bit here had to do with contagious crossed fingers, but why it is unique to a silent movie is beyond me. There are also two scenes in the film that clearly would not play in these politically correct times. The punchline involves three old ladies yelling the word "Fags".

On the other hand, the Burt Reynold's segment actually comes out pretty well. Burt make some fun of himself, there is an hysterical shower scene and then a classic old school comedy bit that falls a little flat involving a steam roller. I think this section works because Burt Reynold's knew how far to go in mugging for the camera. A little wink and a smile in the mirror is enough. James Caan on the other hand, overplays and then underplays the comedy bits he is in. Liza Minelli, is mostly lost in a bit that simply has her observing the antics of the three stars in Knight's Armour. Maybe this would have worked better with the clanking of the armor added in. As it was, it was maniacal without being funny. Paul Newman plays all of his part, sitting down in a motorized wheelchair, and it works really well, but not because it is Newman, but because they choreographed some good jokes in the chase. The payoff on the other hand works exactly because it is Paul Newman. Mel Brook's wife Anne Bancroft is in the film, playing herself, the best face joke is hers as she does a spot on Marty Feldman impression. There are also a couple of good visual jokes featuring the board of executives responding to a sexy image of Bernadette Peters.

I think the main problem with the film is timing. Brooks has a good ear for a funny joke and a good eye for a sight gag, but they do not flow smoothly or quickly. A keystone cops comedy should be paced like the race scene with Paul Newman, but the Three Stooges and Laurel and Hardy, had dialogue to help set up the jokes and that is missing here. For a movie that is supposed to be light and bouncy, it feels slow and methodical. Those few scenes that are planned, take a long time to play out, the frenzied stuff just seems a bit random and goes on too long. I saw this movie with Dan Hasegawa, when it first came out and we liked it well enough then. I have not watched it in the thirty four years since it's release until today. I've seen "Life Stinks" more times then this, and to be honest, I now know why.

Jaws 1975 A Movie A Day Day 33

This is the granddaddy of all summer movies, which seems strange since I am including five years worth of summer movies on this blog before this ever came out. How can a movie that is younger than all the summers before it be considered the granddaddy of summer movies? The answer is simple. JAWS re-framed the way we viewed movies, all movies, but especially summer movies. JAWS is the standard that we will use to make comparisons of our film experiences and impressions. It is the prism through which we see our own history. Those of us who lived through the phenomena that was and is JAWS, can never look back without thinking how it changed us. Those who came after, can never live in a world where JAWS did not influence the way movies are made and marketed. Any one who lived before JAWS, knows how it changed the movie world, and looking back on summer movies will be a nostalgia of a different order because JAWS is in your world now.

Some might think that this is hyperbole but the number of films, filmmakers, academics, marketers, and film-goers, who have been influenced by this movie is undeniable. I have actually read on line comments that dismiss JAWS and suggest it is somehow just a footnote in film making history. If editing is a footnote, if the addition of sound and color to films are footnotes, if the study of film as an artistic medium is a footnote, then maybe they are right. (BUT THEY ARE NOT!!!) The combination of story, director, script, acting and especially marketing created the modern world of film. There may be some negative consequences (like Shrek 4 opening on 4000 screens), but the variety of stories and film-making that have resulted from JAWS is just undeniable. This is the gold standard.
The Shark is Still Working

I saw JAWS on opening day in the Summer of 1975, with my friend Dan Hasegawa. We went without Art that day because he was taking a girl to a different movie. Dan and I went to the Hasting's Ranch Theaters, three moderately sized screens located just north of the big Pacific Theater Hasting's Theater. We knew next to nothing about the film except what was shown in the trailer. The trailer gives you a good impression of the action and adventure that is coming your way, but I think it undersells the horror aspect and that is what we were most surprised about. From the beginning cello strokes and underwater POV shot, we are creep-ed out. It still did not prepare us for the intense opening sequence that everybody held their breath through. Later in the movie, I literally saw 500 people sink into their seats in dread and then jump out of the seat,simultaneously. I am not exaggerating, the audience levitated at least a foot out of their seats when Ben Gardner appears. There have been gotcha moments in films for years; Alan Arkin's dying leap for a blind Audrey Hepburn or Carrie grabbing poor Amy Irvings arm, are those kinds of jumps. This made them all look quaint by comparison. I had seen the Exorcist a couple of years earlier, after it had been talked about and described to me for months. It was still frightening and made me jump, but that was despite what I knew was coming. Here, we did not know what was going to happen, and after that first scene it seemed like anything was possible. Amanda has seen this movie maybe more than other movie in her life and she still covers her eyes for a few scenes.

The movie is so much more than a horror film however. This is a struggle of a family man to cope with the inadequacies that plague him, it is the story of a place that defines itself as a paradise, suddenly being stripped of it's self concept. Most of all, it is the story of a quest by an Ahab like character for vengeance against the monsters that have defined him for the thirty years since his own encounter with the Great White Whale. Quint is the greatest movie character ever prior to 1980. He is memorable for his tics,and dialogue and the performance of a great actor who's work in this movie was not properly recognized by any critics groups of the time. If you were to ask people, what great supporting actor role performance they remember from any time in the 1970's Robert Shaw in JAWS will be mentioned. I'll bet that none of the five other actors nominated for Academy Awards that year would make the top fifty mentions on that standard. The monologue that Quint delivers on the Orca, about the U.S.S. Indianapolis is without a doubt one of the greatest scenes in movie history. It stands beside Micheal's kiss in Godfather Part 2, Kane's rage in Citizen Kane, and even the Airport scene in Casablanca. Robert Shaw re-wrote the dialog for himself, and his delivery, starting off with a self knowing smirk, transforming to a terrified memory and finishing off with a self-deluding smile and bit of panache is something I would imagine every actor now looks at with awe. I am not an expert on performance, but this whole scene seemed real, every bit of it, and it was created by the film makers.

There are a hundred things about this movie that people should look for or notice when they watch it. Sometimes it is a bit of comic dialog delivered by a character that has a single line; it might be the framing of a shot that makes key information jump out without writing a big sign to signify it; maybe you should be watching the clever way that the shark is hinted at, without being shown or the wondrous shooting stars in the night time scenes on the Orca. I just watched this movie for what is probably the tenth time in the last year (including two big screen theater screenings) and I found something new about the main character. He is new at wearing glasses. It is hinted at, spoken of but never obvious, and I just got it today. Of course my kids will say I am not all the observant to begin with, just ask them about the tires in the trees if you want their insight. What kind of movie is it when you can watch it dozens of times, still be sucked in and find something new every time you watch it? I'll tell you what kind of movie it is, PERFECT!

Monty Python and the Holy Grail 1975 A Movie A Day Day 32

OK, I admit it, I'm an intellectual midget and I like giggling, so this movie is for me. This has always been, from the moment I first saw it, the funniest movie I ever saw. I have laughed at this movie for thirty-five years. Every time it comes on, all I have to do is see a small section of a single scene and I start cracking up. The silliness of the production, the clever language and the stupid sight gags are chuckle inducing, and if you disagree, your mother was a hamster and your father smells of elderberry.

Speaking of your father, as strange as it may sound, I saw this with my father. I have written before that my Dad would sometimes give me a hard time about movie going, but some of the best memories I have of him are those times we went to a show together. A family outing was special, but going to the movies, just my Dad and I was usually a big treat. My Dad did not fish, hike, play golf, watch baseball, or any other activities that fathers and sons have enjoyed over the years. We sometimes watched football together. Both of us rooted for the Rams and the Trojans. Sundays, in Southern California meant checking out the football game on TV. Often there was no game because of the blackout rules of the day. When that happened we would watch an old Sherlock Holmes movie or some classic Warner Brothers film that was on the Sunday Matinee. My Dad was not much of a TV guy though, and if I could find something to talk him into, we would go to the movies together.

We saw this movie at the Century Theater on Las Tunas, in San Gabriel, on a rainy overcast day. This must have been a weird summer, because in So Cal you don't get a lot of those kinds of days in the summer. I had heard about the movie from someone, but I don't remember who suggested it. We could barely get PBS on the TV so my knowledge of Monty Python was next to nothing. The only UHF channels I remember seeing as a kid, were Mexican stations that carried the bullfights. My Dad seemed to really enjoy stories about bullfighting, I think he must have read Death in the Afternoon. Anyway, I somehow got him to go with me to see Holy Grail. The poster for the movie at the theater looked really cheap. I remember it was basically a line drawing and the title, but my Dad did laugh at the tagline comparing the movie to Ben Hur. It was a double feature and we first sat through a George Segal comedy called "Where's Poppa?". We both laughed at some of the broader bits of that forgotten gem and hoped we would enjoy the feature that brought us there in the first place.

Then the movie started, and the opening titles begin to give credits to moose, their handlers, make up artists etc. The music was pompous and somber and the juxtaposition of music and silly title credits began my father's laughter. Now I had heard him laugh before of course, but not like this. There were deep guttural chortles and higher pitched guffaws that I never remember hearing from him before. When King Arthur and Patsy come over the hill, feigning horseback riding using coconuts, well the phrase "gut buster" was created for that. I was laughing really hard, but I was still worried because my Dad could hardly catch his breath he was laughing so much. We had a tough year in 1975, my older brother Chris had died in April and none of us was anywhere near over it. My Mom practically became a recluse and the only thing that finally got her out and about was having to drive me to USC in the fall for school. Monty Python and the Holy Grail, was the start of my Dad's recovery. Maybe he just needed something to push himself out of the funk. I would never have guessed he would like this movie, with it's strange British humor and funny looking men playing women. Something in it set him going and I was grateful for that and happy that we were sharing something between just the two of us.

"Holy Grail" is revered by geeks everywhere. Kids were doing the Knight's who say Nee at lunch time for their friends. The insults hurled by the French soldiers are classic lines that will be cited as if they were Shakespeare, by people a century from now. Two years ago we spent an evening in Vegas at Spamalot, the Tony Award winning Best Musical that is based on, or ripped off from Holy Grail. Entertainment is a resource that is scarce and to be valued, you deny yourself that resource if you don't see the musical play. And if you have never seen and do not intend to see Monty Python and the Holy Grail, then I fart in your general direction.

July Fourth Preview

A little set up for the July 4th Blog


And an Addendum from the Expert

Sgt. Pepper's Lonely Hearts Club Band Movie 1978 A Movie A Day Day 31

It appears that this movie is almost universally reviled, but the only I reason can see for that is that the Beatles music was somehow bastardized for the film. Nothing could be further from the truth, the music was very carefully performed and arranged for the talent that was available in the movie. Maybe there are participants that hang their head in shame over this, but they should not. This is a pop confection for a summer audience with a light sheen of camp and a heavy dose of 1970s sensibilities. It will not be everybody's cup of tea, but anyone who claims that this is the worst movie of all time, or even that it is especially bad, is simply taking a position. As I watched it again this morning, I was charmed by the vocal performances of the actresses that I never heard from again, and the star power of the Bee Gees.

Peter Frampton is the nominal lead, but it really is an ensemble piece. Frampton is fine but not particularly special. His vocals have some of the phrasing that were found in the big successes he had in the seventies, but he has very little on screen charm. He is getting by on his teenybopper good looks and a big smile. Other than that, he is pretty wooden. The one thing he should be embarrassed about is the first costume he appears in. He is wearing a pink checkered shirt with a brilliant white pair of overalls. I am sorry if this sounds politically incorrect, but he looks like a gay scarecrow in a Broadway revival of the Wiz. In fact this movie has much in common with the movie version of the Wiz, both are star vehicles for singers, who are not necessarily actors, both feature a strong 70's sense of style in palate of color and design, and both are less successful then was expected. The difference is the songs in Sgt. Pepper are by the Beatles and they were covered well, so the music is memorable. The Wiz has "Ease on Down the Road" which only has Michael Jackson going for it. There is one concert scene in Sgt. Pepper, where they recreate the look of Frampton's monster selling live album. Complete with pink back lighting and head movement, it is an attempt to remind the young girls of the time why they came to see the movie.

The story is more coherent than Mama Mia, which has become a big success despite having a ridiculous premise and even less reason for the songs to be in the order they appear. Sgt Pepper was based on a stage production that I never heard of or saw, but the story and songs fit it better than many Broadway shows I've heard about or seen. The word "cheesy" comes to mind for a lot of reasons, the film when it is shot outside, never escapes the back-lot feel of a TV movie. The costumes are cheesy simply because the fashions of 1977/78 were in fact cheesy. This movie is an accurate time capsule of the way stylish people dressed then. The neon colors from the interiors and night scenes are gaudy,just like the Sunset Strip was in 1978. I have a picture of the strip that I took in the summer this movie came out, with a giant billboard promoting the Kiss Solo albums, and those album covers featured the same sort of glowing neon back-lighting that you get in many sections of this film. Sure the movie comes across as a commercial endeavor to sell music, and cash in on the heat of the artists in the movie. I don't quite know why that makes it a bad film, simply because it is a good commercial.

If anyone wants to dump on the musical performances, I will point to three songs that were pop hits from the movie and show the quality of the work. Aerosmith does a sleazy version of Come Together, that used Steven Tyler's voice very effectively. I will admit that as actors the band did not do much, but Tyler, a beanpole of a singer is supposed to have a death struggle with Frampton, who is equally slight. It wasn't really supposed to be convincing. Earth, Wind and Fire are spared any acting scenes, they simply do a musical number at a benefit. Got to Get You Into My Life, is a funky seventies version of the Beatles tune, that really is adapted well to the talents of the group. The Bee Gees harmonies on all the songs they appear on are spot on. Each gets a chance to be featured on a song or two; but the standout is Robin Gibb's smoking version of "Oh Darling". There is minimal musical accompaniment during the whole recorded version, but in the film, he ends up singing nearly half the song a cappella. If you don't like this, you don't like music.

Dolores and I saw this opening day in July 1978, at the United Artist Theater in Westwood. We were expecting big crowds for the first show at noon, so we got there early and were the first in line. A line that ended up being about 20 people long. The theater was about half full by the time the show ran, and when we walked out and saw an even smaller line for the next show, it dawned on us that this was not going to be the next Star Wars cultural phenomena. We did have a couple copies of the soundtrack, and it was a pretty big success also, but they overprinted and it was in cutout bins for the next four years whenever we went into a record store. Dee and I were huge Bee Gees fans and enjoyed the movie a lot. This movie is a good time capsule for the late 70's, you get shots of the L.A. area on Sunset that most of us had spent time hanging around, you get the sounds and colors of the era. You also get to see the fashion of the times, but I can assure you I never owned a pair of overalls in my life.

Gator 1976 A Movie A Day Day 30

I have to admit I missed a day here. The Twilight midnight screening took so much out of me that I was a shell of my usual self yesterday. When I got home from school, which I went to after only 3 hours sleep, we had Amanda's friends over for a little birthday celebration. I ended up putting the movie in around 6:30 and waking up around 9:00. Yep, I fell asleep. At that point I did not have the energy to go back and watch the two-thirds of the movie that I had missed. There would also have been no way for me to blog on the film, either, I would have passed out a second time.

Now that the apology is out of the way, let's get to the movie. I read that the Character "Gator" is based on the same character from "White Lightning" three years earlier. I have that movie on my list also, but I have not yet obtained it so I'm going to go out of sequence. I am telling you it doesn't matter that we are starting with the second movie, because as far as I could tell, there were no story elements carried over from the first movie except the main character. This movie easily stands alone as a comedy/action film. It is the first feature that the star, Burt Reynolds, directed. You can tell that it is a first effort in a number of ways. The pacing is not very crisp, there are some long passages where pretty much nothing happens. Occasionally there is a pretty shot that the director lingers over because he is so satisfied with the image, he wants you to notice it, the shot that stood out for me was a tri-fold mirror image from a music box that featured a young girls face, the dancing musical ballerina, and the stars face, all in one frame. It looks great but it draws attention to itself. Also, the director let the star indulge in a lot of aside comments and laugh shots that go on too long. Some of it is funny but most of the time it hurts the narrative.

The movie is supposed to be about action and character. There are some good character performances in the movie. Jack Weston, a rubber faced actor with a soft voice plays a Department of Justice investigator that traps our hero into working for the law against an old friend from his moonshining days. You'll recognize Weston from a ton of films. I always liked him as the agent in Ishtar but you will have seen him elsewhere. In the opening part of the movie, he is playing the part as a bumbling fish out of water type, and the comedy boat chase in the first fifteen minutes will make you think that Dom Deluise must simply not have been available. As the movie progresses, it is clear that they needed a dramatic actor for some scence as well as the comedy. Weston can do that, I don't think it would have worked with Reynold's usual comic foil. Jerry Reed on the other hand is in this movie, as he was for a half dozen other Reynold's films of the time. He does the title tune, after all he was primarily a country singer, but I thought he did very well playing a nasty bad guy. He's a good ole boy in a lot of scenes but then, he turns brutal and carries it off pretty well.

Other than some awkward film-making my biggest issue with the movie is the tone. The opening is like a Smokey and the Bandit Comedy. It looks like Gator and the fed will have a Mutt and Jeff type comic banter for the duration. Somewhere along the line the though, the story turns serious, and although there is quite a bit of humor, it doesn't always play well next to the grittier stuff. For example, Alice Ghostly appears as an eccentric local who can help out the investigation. There is a section in which her love of her cats is played for laughs, but later in the film that idea becomes tragic and the fun good times get lost. The same sort of thing happens with the local Mayor and the corrupt police. It is all fun and games, and then there are fifteen year old girls strung out on drugs and used as prostitutes, with the officials turning a blind eye. The movie can't decide if it wants to be a slap-stick like comedy or a gritty crime thriller. Other movies have walked that line successfully (Beverly Hills Cop) but manage to do so while making the comedy stand separate from the crimes that are going on, here it does not feel that way. A running joke about a tall henchman having to sit in the drivers seat of the car while his head pops out of the sunroof is amusing, until that character turns out to be a sick killer.

I spotted Burton Gillian again in this movie, as Smiley, the tall guys buddy. Mike Douglas of all people makes a cameo in the opening as the Governor that hopes cleaning up the crime ridden county will clear his way to a Presidential Nomination. Those of you who don't know Mike Douglas, he was one of those avuncular talkshow hosts, whose syndicated programs filled afternoon TV time on local network affiliates in the 60s and 70s. I think it was his show where Cher and Gene Simmons (in costume) were shown ordering tacos at a Jack in the Box. Model Laureen Hutton, is the female co-star here and it was funny watching her make light of her gap-toothed smile in a romantic encounter on the beach. I seem to remember a song or a story that talked about the allure of gap-toothed women, she was fine and pretty appealing here.

My copy of the movie starts full screened, then goes to wide screen for the credits, back to full screen for the duration of the story and then wide-screen for the closing credits. I know there are contractual issues on the credits, and that is why they run them this way, but it makes it more noticeable how inadequate the pan and scan process is, because we have seen glimpses of the bayou and the back roads in panavision glory and it just looks better. Check out the movie poster above, it looks like James Bond became a hillbilly for this film. It's a great poster, but not really indicative of how the movie plays. Bond was smooth and polished and the action was choreographed really well, this movie is rough around the edges, with a lot of dirt in the story and on the actors. Typical Burt action film.