Alien-Paramount Summer Classic Film Series

 

Many have said the trailer above is the greatest film trailer of all time. It establishes that there is a mystery, that it involves horror, that there is action, and it shows tidbits of information without giving anything away about the plot. It also has the greatest tagline of a movie, ever. Last night, at the Paramount Theater, you could hear the screams. "Alien" continues to be one of the best fright films ever made, with a stellar cast, a terrific production design and the tension ratcheted up by director Ridley Scott. When we got on the elevator in the parking structure to go over to the film, two guys saw our shirts and knew we were headed to the film. We chatted very briefly, and one of the young men said he was seeing the film for the first time. I envied him. This is a movie with surprises and scares and seeing it for the first time in a theater is the best way to experience it.

The premise of the film is that Earth Conglomerates have started mining the universe for minerals and that they are also interested in other valuable properties as well. If you have not seen the movie, proceed with caution because I am going to dance around a couple of potential spoilers here. The crew of the Nostromo, a towing vehicle with a full load, is awakened from their interplanetary slumber, to investigate a signal that cannot be natural but must have some kind of intelligent design, maybe an SOS. The crew are working stiffs with their own hierarchy, reflecting a chain of command but also the jobs that they perform. There are some normal resentments about pay and working conditions, but everyone shares the discomfort of the job and wants to get home. The detour to a nearby planet to investigate the signal, results in a series of events that are catastrophic but also may be deliberate. As a late 70s film, the plot is thick with conspiracies, suspicions about the motives of the corporation, and distrust of various crew members. If it were not a science-fiction/horror film, it could easily have fit in with other conspiracy based movies of the era.

Slow burn set up was typical of movies in those days and that is what we get here. All the characters are introduced, we know a little about them. The routines of the job are shown and the work space is mapped out for us a bit. All of that is needed and it takes a half hour before we get to the first terrifying moment of the film. Of course the score by Jerry Goldsmith has been building up the tension from the beginning, but it is not until Dallas, Lambert and Kane are on their expedition to the derelict ship, that we know it is time for our sphincters to tighten.

Sigourney Weaver dominates the film, in spite of being third billed because her character has the biggest story arc. She has to be a hard ass bureaucrat, then a tender hearted animal lover, and a inquisitory third in command who is rapidly moving up to a position of even greater authority. She is a character who gets mocked at one point, ignored at a critical junction and then has to take charge. The suspicions that she develops about one of the crew come from legitimate questions about procedure and not just personal animus. It's a little ironic because the Weylan-Yutani Corporation might have sabotaged their secret agenda, if everyone followed the rules the company had set up in the first place. Ripley is a great character, who expands even more as a compelling presence in the sequel film. I've said it before, when people ask me which film I like the best, "Alien" or "Aliens", the answer always depends on which one I saw last. So for today, Alien is my favorite. 

There is only one shot in the film that struggles to work for me, and it is an aggressively obvious transition shot that just could not be done except with an awkward edit. It is over quickly though and the remainder of the scene is really creepy and effective. Sure, in the end, the film is about the elimination of the crew one by one, but the journey is filled with great characters, funny moments, some great jump scares and a lot of technical detail. On the way out of the theater last night, I heard someone saying that the film worked well for an older movie. I'll take the practical effects and gritty sets over CGI imitations anytime. That "old" movie line was used in "Infinity War" and it got a laugh, because people who remember the film, don't see old, they see "classic". 

KAMAD Throwback Thursdays 1975: Jaws

 Throwback Thursday #TBT

Throwback Thursday on the KAMAD site will be a regular occurrence in the next year. As a motivational project, to make sure I am working on something, even in a week where I don't see a new film in a theater, I am going to post on movies from 1975. Along with 1984, this is one of my favorite years for movies and it is full of bittersweet memories as well. 1975 was my Senior Year in High School and my Freshman Year in College. The greatest film of the last 60 years came out in 1975, as well as dozens of great and not so great cinematic endeavors. Most of the films in this weekly series will have been seen in a theater in 1975, but there are several that I only caught up with later. I hope you all enjoy.

Jaws 

This was a hectic day and I didn't get a chance to rewatch a film for the project, so I'm sharing with you some of the material from the past on the greatest film of 1975. 

I had two theatrical presentations of Jaws this year, one in May, and the second in July.  Of course I have seen the movie at home a couple of times earlier in the year. Frankly, I could watch this movie ten times a year rather than the four or five that have been standaard for me over the last couple of decades. This is the movie that I know I have seen the most and it is also the one I have written about the most.

Back in 2015, on the fortieth Anniversary of the film, I did an extensive set of posts celebrating the four decade long reign of this film as my favorite (At least of the second half of the twentieth century). 

Here are some links for you to go back and see from that time frame.

A list of non-shark shark sightings in the film.  

Everyone knows the most famous line from the film, here are some other good ones.

We have probably added a dozen to the collection in the last eight years, this was Amanda's Closet in 2015.

The three leads are not the only great characters in the picture.

Here's to swimming with bow legged women.

Ferris Bueller's Day Off-Paramount Summer Classic Film Series

 

Let's face it, "Ferris Bueller's Day Off" only pretends to have a social value buried in it somewhere. It is not really there. Cameron is a puppet, Sloane is a trophy, and Mr. Rooney is the Coyote to Ferris's Roadrunner. It's a live action cartoon set in Chicago, featuring misbehaving high school kids against the world. We root for them because their antagonists are so exaggeratedly drawn that you want them to succeed in spite of how obnoxious they can be.  Ferris is an entitled brat, Cameron is a put upon drone and Sloane is the eye candy they drag along with them. That said,  he's very popular. The sportos, the motorheads, geeks, sluts, bloods, wastoids, dweebies, dickheads - they all adore him. They think he's a righteous dude, and for the most part so do I.

Ferris is living out a fantasy of a day skipping school. You get your best friend, your best girl, in the coolest car possible, and you lead them on an adventure that will be talked about the rest of their lives. Of course we love it, we all wish we could do some of those things, and boy do John Hughes and Ferris Bueller sell us on that dream. I remembered the review from Siskel and Ebert when Gene complained that the kids didn't do anything very interesting on they day off. They went up in the Sears Tower, ate at a fancy restaurant, went to a Cubs game at Wrigley field (Gene's big complaint was that they didn't sit in the bleachers), spent time at the Art Institute of Chicago, hijacked a parade in an elaborate fantasy moment, and outwitted their nemesis at every turn. He had a pretty high standard for what a good day in Chicago would be. He also complained that the breaking of the fourth wall was not funny. Before it was used in every comedy show in the 2000s, it was not typical for characters to address the situations they were in from a third person perspective, now that is everywhere, Hughes was just ahead of his time.

When Ferris addresses the audience, he says things that the target audience will relate to. "I'm not going to live in Europe so why do I care if they are socialist?" He is the unstoppable force that is impervious to the barriers that are thrown up against him. Cameron points out the fantasy at one point, "He never gets caught".  We see that superpower played out repeatedly and we are in on the joke. We know it is a fantasy and that's what helps make it so much fun. Of course Ferris did not choreograph the parade watchers and participants in the dance sequence in downtown Chicago, that is just the dream and it is an enjoyable one. 

Matthew Broderick was becoming a big star at the time and this role sent him to the top. He was never lumped in with the brat pack actors of his era, and he managed to play a lot of parts that showcase him as the star, not just one in an ensemble. His supercilious delivery of his lines and attitude to everyone else in the film is right, but it could easily be off-putting. Broderick manages to wald the line between everyman and arrogant snot pretty well. The sort of tacked on relationship advice he gives to Cameron seems plausible only because he is a kid as well. 

The parade, the good natured theft and return of the Ferrari, the intricate tricks Ferris used to fake out his parents and anyone else questioning hi illness are all humorous moments that are not meant to be taken literally. It's not really a film about empowerment, it's a film that embraces a philosophy of fun, regardless of how difficult the dream would be to attain. Life moves pretty fast, maybe we ought to enjoy it while we are here. 

I had this poster on the wall of my office at school for several years. 

Animal House-Paramount Summer Classic Film Series

 

Another great comedy to start wrapping up the summer with. Technically, this is the 45th anniversary of "Animal House" but that can't be right can it? This movie feels eternal. I know that sounds strange given that today's climate would not be tolerant of a lot of the things that are used as comedy plotlines here. This movie features cheating, stalking, peeping, underage sex, racial profiling, animal death, theft, drunk driving, shooting guns at others for fun, you know, all the stuff that would put you in Twitter (X) jail forever.

Somehow, it still feels relatively innocent because it is set in a time that was even more repressive than these, and it throws all of this in the face of authority that would try to contain it. It certainly doesn't hurt to have John Belushi as the chaotic dervish at the center of many of these shenanigans. Belushi managed to make even the most twisted sort of behaviour feel like impish fun with his head tilt, shoulder shrug and raised eyebrows. Probably everyone who went to college, at some point knew a loser who was not malicious, but simply clueless as to how they impacted the world around them, Bluto is that guy.

Tim Mathison as "Otter", is the one who really has a story arc, but progress on the plot is not what this movie is about. These are comic character sketches and "Otter" is the slick operator with a pithy comment and detached attitude about the mayhem going on around him. It's interesting that we still sympathize with him when the rival fraternity ambushes him, after all, he just executed the cruelest manipulation to get a date that you are ever likely to see. It is his jovial, devil may care attitude that lets him get away with being a total ass and still we are damn glad to meet him. 

The hovel that is the Delta House is also not too unfamiliar. If you are in the right college town, there is always a dump that will pass as student housing, and it is a two way street, the house gets abused by the residents, sure, but the residents are often behaving in a way that seems befitting of the place they live. Which is the cause and which is the effect? Also, all you have to do to spark stupidity is add alcohol, and kids in college seem to take that as an obligation sometimes. The rituals of a passage in their life. Fortunately, in the movies, it results in minor comic moments as opposed to tragedies. That's another reason we give this a pass, we know it is a story designed to evoke laughter, it doesn't pretend to have any life lessons buried inside of it. 

I wrote about this film in my original project and you can read those comments here. It was also part of a TCM Film Festival Program I attended and there is some information on that screening Here. "Animal House" is politically incorrect, vulgar, anti-authoritarian, and as funny as hell, almost fifty years later. 

Valley Girl Redux (2023 2nd Edition)

 

Having written about the film just a week ago, I'm not ready to write any new insights but I did see the film again in the theater and I think I will share a couple of things with you. The video above is a few years old but it does an excellent job of re-visiting the filming locations for "Valley Girl". I ran across it this week and I think you might enjoy. 

Here is a little taste for you of The Plimsouls in the movie. 

It's not the clip from the movie, but the original music video for the song.

Bitchin'! Is this in 3-D?

No, but my face is.

And the montage that makes a grown man cry. Love you Dee.

RRR-Paramount Summer Classic Film Series

 

[I strongly recommend skipping the trailer if you have not yet seen the movie. It's not so much spoilers as it is the discovery of what you are watching that might matter.]

This film came out a year ago and there were plenty of recommendations from friends in the Cinema Loving Community who recommended it. My only reservation was that it is three hours long and I just needed to find a time that would work. When it showed up on Netflix, I thought, "Good, now I have a chance to catch up with it." I never did. Finally, I saw that it was going to be featured as part of the Summer Film Series at the Paramount Theater in Austin, and I decided to wait so I could experience it for the first time on the big screen. Oh am I glad I waited. 

To begin with, this movie is epic, hyperbolic and inventive as all get out. "RRR" is a an Indian film, made in a language that is not Hindi and it focuses on two legendary revolutionary figures. Historical accuracy has nothing to do with this film. It is set in India, primarily in Delhi in the 1920s. The British Empire is presented as a near totalitarian regime and represented by a Governor who may have emigrated from Nazi Germany. None of that matters one bit. Although it is filled with story lines that are clearly propaganda gone wild, it is the friendship at the center of the story, and the amazing cinematic visuals that make this movie literally sing. Yes, at times it is a musical. 

Comic book movies from Marvel and D.C. have nothing on this superhero story that feature two extraordinary men of strong will, who are divided by circumstances not goals. I don't know anything about the actors or the director, they all apparently have a great deal of success in the  film community of their native language (not Bollywood by the way). This is the kind of breakthrough film that could extend their film fame to a bigger audience, N. T. Rama Rao Jr. and Ram Charan are both charismatic and solid actors. I hope some of their films will make their way into my cinema queue in the future. 

S. S. Rajamouli is the most successful Indian director of all time, and one of the influential artists of the world, and I knew nothing about him, that is going to change.

The movie is filled with over the top emotional moments, including oiled up, muscle bursting training montages and close up, love lorn looks, and seething anger and resentment. All of this is accompanied by the exquisite music from  M. M. Keeravani, who also co-wrote the Academy Award winning song from this movie, "Naatu Naatu".  The dance sequence that is partnered with the song is one of the greatest on screen expression of exuberance in dancing that you will ever see.  It puts those moments in "Barbie" that aspire to do the same kind of thing, to shame. 

As great and entertaining as the singing and dancing moments are, they are matched by some of the most eye popping, jaw dropping, cheer inspiring action scenes you are ever likely to see. Unlike the "Fast and Furious" movies, this film embraces magical realism rather than pretending physics doesn't exist. We can accept some of the outrageous moments because we know this is a fantasy film. The scenes of rescue are heroically out there, and the attack with the animals is so much fun and looks so great that we don't care whether it makes sense. Our heroes can practically fly in some scenes but still we believe because we know this is myth not history.

The best part about waiting to see this was that the audience I was with was fulling embracing the spirit of the film. They hissed at the villains, cheered at the heroes, and when the music was at its most boisterous, you could feel people doing chair dancing in their theater seats. There was applause at several moments in the film and at the end the applause and cheers were loud and passionate. I had sooo much fun seeing this movie. It's an example of something that is purely cinematic, but also completely different from what we see in most western films. If there is any way you can see this in a theater, do that first, if not, make sure you are watching with some other people, you will want to high five and dance with someone while you do. 

Cool Hand Luke-Paramount Summer Classic Film Series

 

I was once a guest on the Lambcast when we discussed this movie. Some of the other guests seemed befuddled at why the film is so iconic and loved. I recall that one person said that Paul Newman's character did not have a story arc and he was the same at the end of the film as he was at the beginning. That my friends is the point! Luke Jackson was a non-conformist in the days when conforming was to be expected. The story is set in the 1950s, but the film came out in 1967. The social revolution was in full swing, and here was a movie that celebrated it's spirit, even if Luke was not a hippie. He was anti-establishment, ant-authoritarian and the friendliest misanthrope you are ever likely to encounter.

Paul Newman was one of our great actors and he excelled in all sorts of parts where his laconic delivery, crooked smile and deep blue eyes could make even a weak script sing. Here the script is not weak, it is powerful with a defiant message about the soul crushing influence of conformity. At one point, the idea is made extremely clear when it looks like Luke has been broken by the repeated torments of the guards. He confesses to Dragline, his friend played by George Kennedy, that he was broken, but as we see in the last act, he returns to his defiant manner and mocking tone. Luke was a world shaker, in the small world that he occupied, but most of us live in such small worlds. It is our own lives that we need to be accountable for. Newman could smirk at God and still seem humble. Whether winning at cards, losing in a fight, succeeding at escaping or failing to elude captors, Newman let's us know that Luke is not going to be changed by the events of his life. The closest he comes to any such movement was the death of his Mother, but it took the unjust act of the prison captain, to put him in the isolation box to discourage running, that provokes the exact opposite reaction.

If you look at the cast list, you will see a bench so deep as to be unbelievable. The character actors in this film are a who's who of great film and TV actors of the 60s and 70s. Even the ones who have no lines and are just seen in the background, add so much to the ambience of the work camp. Hell, Dennis Hopper and Harry Dean Stanton are in this film, and they are swamped by some of the other talent on the scree. George Kennedy deservedly won the Supporting Actor Oscar this year for his character of Dragline. It's a performance that when coupled with Newman almost sucks the air out of the film for any other actor. Almost.

Reader's of this site know that there is a companion site devoted to the great character actor Strother Martin. I would encourage you to visit there and find some other indelible performances, but let me add a few sentences here before I move on to other contributors. The Captain, is one of the most evil characters Martin would ever play, but on the face of it, he seems almost compassionate towards the prisoners. Of course what he says and what he does are two different things. He gives a speech of welcome to the incoming prisoners and he seems mildly interested in them, but allows the man guarding them to abuse the men without any reprimand or reservations. Much of his performance is silent, as he stares at the prisoners and the guards from his porch, taking in the cruelty and abuse from both the inmates and their jail keepers. His gentile voice and disarming twang, suggest some humanity, but look at the dispassionate expression on his face when Dog Boy, played by Anthony Zerbe, breaks down over the death of one of his beloved bloodhounds. The Captain couldn't care less. The façade of  compassion is only broken when Luke mouths off after being captured and beaten. His ego having been attacked sets loose an inner rage that we don't ever see again. It is when Martin tries to restore the image of humanity to the Captain that the famous quote from the movie emerges from his mouth. Not a reprimand but an attempt at explanation. "What we've got here is...failure to communicate."

When Stephen Jannise, the programmer who introduces the films, noted that Stuart Rosenberg is not a household name when it comes to film directors, he is right. but he was nominated five times for DGA Awards, including a nomination for Best Director for this film. Watching the scenes fade in and out, using crane or helicopter shots, is pretty impressive. The sequences where Newman is escaping and trying to throw off the scent that the hound dogs are following, are staged very cleverly and a entertaining as heck. The race of the prisoners to finish tarring the road is a collaboration between Editor Sam O'Steen , Cinematographer Conrad Hall, and Composer, Lalo Schifrin. The visual and music elements are great but Director Rosenberg should get some credit for putting it all together. I think the more often I see the film, the more I am impressed with the technical aspects of the film and not just the performances. Even the title scene deserves some attention for setting up the theme of the film right from the start.

Once more, watching the film with an audience is a treasure to be savored. I heard laughter and groans and intakes of breath for a dozen scenes in the movie. People responded to Like' resilience in the fight scene, they were horrified by the egg eating sequence, and they were cheering the ways Luke tried to outfox the hounds. I have watched this movie dozens of times at home, but the three times I've seen it on the big screen with an attentive audience, are the screenings that will always stand out to me. Classic film fans will always show up for this kind of event, but the rest of the movie going world needs some encouragement. Remember, if you haven't seen it before, it's a new movie for you, regardless of when it was made. So "get your mind right", and make the effort.