Body Double (1984) Revisit

 

Contains some Spoilers.

Paramount Summer Classic Film Series-Jaws and Point Break

 

A change of pace for the Paramount Summer Classic Film Series, a Video post for the Sunday Movies.

MaXXXine (2024)

There was probably no way that my most anticipated movie of 2024 would live up to my expectations. The bar had been set too high and I amped myself up for months looking forward to this film. I can't say that it's a disappointment, but maybe more of a let down. I wanted something more, and I thought I was going to get it when I saw the opening 5 minutes of the film in a preview with the film "X", that this is a sequel to. Mia Goth has a great moment at the start of the film, and her character of Maxine has flashes of that brilliance throughout the film. However those are only moments and there's a lack of consistency in the character which was frustrating.

Those of you not familiar, "MaXXXine" is the continuation of a story that we got in 2022 set in 1979 in Texas, about a group of wannabes trying to make an X-rated film, and running into a couple of older people who resented their youth and their sexuality. This movie tries to continue the story by tapping into a connection that was made near the end of that film. From the very beginning I knew who the villain of the film was going to be, and the lack of suspense there undermined what I was looking for in the movie. The film does manage to create the same tone that some of the sleazy action films of the mid 80s had. The most likely comparison that will make sense is to the movie "Angel" 

where the featured ingenue is a student by day and a hooker by night on Hollywood Boulevard. The gritty streets, over the top clothes and mannerisms on the street people from the 1980s feels like it was matched pretty well in this movie. Director Ti West has also tried to slip in some red herrings with the presence of the Night Stalker, the notorious killer who terrorized Southern California in 1985. For the most part the connection needs to be stronger, we're not sure why the LAPD detectives who are investigating the murders of young women in the adult film industry believe that the deaths are unrelated to The Night Stalker, especially when the media seems to be playing up such a connection. This is simply part of an incomplete storyline about the investigation of the murders. Maxxxine is a witness, and ultimately a target, but seems to be incapable of deciding how to proceed in the situation. That is not the way the character in the previous movie and the first 5 minutes of this movie would react.

Kevin Bacon shows up as a sleazy private detective who is working for an unseen superior, trying to track down Maxxxine and lure her to an address in the Hollywood Hills. We know right away that this is where bad things are happening, because some of the girls that Maxxxine works with mention that they were going to a party in the Hollywood Hills, and later we see them being abused on video camera. It's not until the climax of the movie that we see the totality of what is going on, but the mere fact that we didn't see the murders of those girls first hand, doesn't mean that we can't see what's coming.

Another subplot that lacks development, but should be the most important part of the story, is Maxxxine being cast in a traditional film and starting to play that part. Instead we get the director pontificating about being ruthless in pursuit of her objective, and therefore acting as a role model for Maxxxine. But we already know that Maxine does not need that kind of role model, she is capable and driven and I would pity the fool who goes up against her. We even get a brief sequence, that has nothing to do with the main plot, which shows exactly how brutal Maxxxine can be in pursuit of her goals. This was exactly a flattering image of Buster Keaton, let's just say some impersonator did get something busted. (Nut Busted Keaton should be the credit name for the character)

The movie is not really a horror film any longer, but rather a suspense thriller. The problem is that there's just not much suspense. The main victim should be stalked more ominously, and the threat should be visualized a little more directly. Other than the occasional interviews by the detectives you don't really see how Maxxxine is being threatened by the secretive employer of Bacon's Detective. In one scene that makes no sense whatsoever, the detective chases Maxine menacingly around the Warner Brothers lot, which then turns into the Universal lot, and puts her in the Psycho house hiding, without a plan. OK, we get the reference to the first movie, but it was a weak scene. Maxxxine can be backed into a corner but she always has a plan, in this movie though,  she just lucks out. And the convenience of at least two lucky interventions undermines the storytelling we'd seen in the two previous movies. The side stories might be consistent for the 1980s style film but as we've said before the things that are happening in the past need to be visualized more in the present. For a film set on the fringes of the pornography industry is surprisingly light on sexuality. There's one passing moment when an X-rated video is being filmed as Maxine walks by, all of the other porn references are to the film that was made in the original movie.

Were I ranking the three movies in the X Series I would simply say they were in declining order. The gap between "X" and "Pearl" is the smallest, those two films were near perfect in the way they mimicked the filmmaking styles of earlier times. They were inspired by films of different eras. Maxxxine is a step down, it gets some of the 80s vibes right but in trying to become something more, like the movie Puritan 2, featured in the storyline, it just doesn't amount to anything nearly as great.

Paramount Summer Classic Film Series-The Muppet Movie

You don't think going to the movie theater is going to be a dangerous enterprise, until you realize at the end of an hour and a half that your face is strained from smiling so frequently and laughing on a regular basis. The soreness of my face is a small price to pay for the joy of "The Muppet Movie". This delightful piece of Cinema from 1979 brings the Muppet team together for their first motion picture, and keeps all of the characters in line with their personalities and comes up with a storyline to connect them all.

I first saw "The Muppet Movie" at the Cinerama Dome in Hollywood in 1979. I felt about it pretty much then the way I do now, it is a brilliant and clever application of puppetry to movie making and it delivers a heartfelt message to all of the dreamers out there. The biggest dreamer of all of course was Jim Henson, the creator of The Muppets. Henson continues to inspire filmmakers and storytellers, and some of the innovations found in this movie are still around today.

It is possible that there has never been a more personable character than Kermit the Frog. As the leading man in the picture he is both thoughtful and a little fearful as he confronts the world around him in pursuit of his dreams. Kermit's sincerity is reflected by the circumstances he frequently finds himself in. One of the joys of this movie is the plethora of cameos by actors, comedians, and historical movie people, which populate the background. Bob Hope distributing ice cream, Edgar Bergen judging a small town beauty contest, and Richard Pryor selling balloons are all in this movie together. If you ever get stuck playing Six Degrees of Kevin Bacon, remember that the Muppet Movie will let you connect a whole lot of people if you can just remember everyone who showed up in this movie.

The Paramount Theater was packed with families bringing small children to encounter The Muppets in a format that they probably haven't seen before. Based on the laughter and applause I heard,  the mayhem created by the Muppets continues to be something that the young and old can share. It's probably a little nostalgic for people of my generation, but there's still plenty of things that are funny regardless of the time line. Statler and Waldorf heckling everybody is always funny. I think the joke with Carole Kane reappearing each time somebody uses the word "myth", and she acts as if they are saying Miss, is still viable. Maybe the Hare Krishna reference will seem a little out of date, since that religious group is not nearly as prominent as it was in the 1970s. I still laughed however at that recurring joke.

I want to embrace Fozzie Bear, bring Gonzo the great home, and attend the wedding of Kermit and Miss Piggy. 5 years later we got a chance to do that, and that 1984 film, "the Muppets Take Manhattan" will hopefully play at the summer film series sometime in the future. I got a kick out of seeing the audience respond to an extremely young Steve Martin, a nearly silent Orson Welles, and Mel Brooks looking young and acting silly playing a Teutonic neurological doctor, who's going to do a brainectomy on poor Kermit. Geez there are a lot of people in this movie.

In addition to smiling I teared up occasionally, because this was one of the movies that my late wife and I attended together and loved passionately. The Muppets were one of the things that we shared both before and after we were married. When our kids came along we loved the chance to share that with them as well. As far as I'm concerned the world is a lesser place when there isn't a Muppet Movie on the horizon. Fortunately in 1979 the future would be ripe for these for these characters, and in 2024 we luck out again because they showed up here in the Paramount classic Summer Movie film series.

Paramount Summer Classic Film Series Double Feature

 

We had a Double Feature at the Paramount Theater last night. Two 1980s era musicals about dancing. Not to put too fine a point on it, the line for the ladies room was extremely long, for the gentlemen, not so much.

Dirty Dancing

I saw this film when it originally came out in 1987 and I remember enjoying it but not particularly embracing it. I think I have seen it once since then, but more that twenty years ago, again, with some appreciation but not necessarily enthusiasm. After last night's screening however, I think I can say I am a fan. Maybe it was the passage of time, the fact that I was seeing it with my daughter, or simply the audience enthusiasm that became contagious that converted me. This is a very well made movie. It may be a little hokey, but all of that hoke works the way it is supposed to. 

Patrick Swayze and Jennifer Grey are terrific in the movie. He is a dynamic dancer with looks that can make a female audience member swoon, and she is fresh and authentic and has the dramatic chops for the part that she is playing. So what that the story is the well worn plot path of two people from different worlds falling in love. They get to do so against a great soundtrack, with a nostalgia painted background and dance while it happens. 

Jerry Orbach as Baby's (Grey) Father, manages to create the kind of father figure who remains sympathetic in spite of his opposition to the pairing. His interjection into the story because of a medical emergency seems right, after all he is a doctor, and the confusion about what is happening was understandable. The third person perspective the audience has allows us to identify with all the characters, and also applaud when the indifferent villain of the piece gets his comeuppance, both at the hands of Johnny (Swayze) and Baby's Dad. 

The audience last night filled the Paramount with cheers, catcalls and swoon filled ahhhs, as Baby and Johnny come together. The humorous courtship through a crash course in mambo dance training was just the ticket for the blossoming romance. Little expressions on the faces of the two lovers, or a gesture from one to another, elicited a tickled response from the audience. I had not remembered how long the dance sequence in the employees quarters was near the start of the story, but it was worth it.   

In spite of a serious abortion subplot, most people will remember this as a light romance with charismatic actors who had great on screen chemistry. I have read that Swayze and Grey had some personal clashes but managed to successfully work together in making the movie. From watching them in the film, it is hard to believe they frequently did not get along. Choose the fantasy. 

The second film had lost nearly a third of the audience but none of the enthusiasm.

Footloose

Although not as well constructed as "Dirty Dancing", "Footloose" manages to be just as entertaining, with it's own sense of purpose as well. No doubt there are repressive communities like the one imagined here, but the stereotypes are a little more jarring in comparison to the first movie. This was a star making turn for Kevin Bacon, who is still in demand as an actor, forty years later (He appears in "Maxxxine" which I will be seeing later today).

The dance sequences in "Dirty Dancing" grow out of the story setting, with dancers at a Catskills resort. Here, there have to be invented moments which will allow for some of the dance moves to be demonstrated. The audience approved of the moves in Bacon's warehouse solo dance scene, although those approving cheers were frequently preceded by laughter at the set up. Regardless, I think I will have to agree with Peter Quill:

Peter Quill:  on my planet, we have a legend about people like you. It's called Footloose. And in it, a great hero, named Kevin Bacon, teaches an entire city full of people with sticks up their butts that, dancing, well, is the greatest thing there is.

As much as the dancing is about Kevin Bacon, most of the drama is about Lori Singer. I wasn't convinced by her relationship with Bacon's Ren, but she does hit the mark with her contentious but still loving relationship with her father played by John Lithgow. Reverend Moore is trying to protect his whole congregation, in an attempt to compensate for the loss of his son, and the pain he feels is balanced by his sincerity. When he snaps and slaps his daughter Ariel, it is a shocking moment that brings uncomfortable realism to an otherwise light weight fantasy film.

The "Footloose" soundtrack is filled with original compositions that were co-written by the screenwriter, Dean Pitchford. He has eight credited songs in the film, songs that he worked on with the likes of Kenny Loggins, Jim Steinman, Sammy Hagar, and Eric Carmen. It has a very different feel than the 60s needle drops of the other film on this double bill. The scene where Ren plays "chicken" on a tractor, gets the over the top Steinman treatment and it is a perfect fit of grandly over the top song with ridiculous scenario. "Let's Hear it for the Boy" is a comic gem in the spot that it is used. Overall, the audience was thrilled. 

I'm inclined to accept this summary.

Peter Quill: The Avengers?

Thor: The Earth's mightiest heroes.

Mantis: Like Kevin Bacon?

Thor: He may be on the team. I don't know, I haven't been there in a while.

Paramount Summer Classic Film Series-Chinatown

As I am putting this post together I just read that screenwriter Robert Towne passed away Monday night at the age of 89. "Chinatown" is his masterpiece, and it certainly seems fitting that we were seeing it on the big screen at the time he was moving on to his final resting place. This is the second time we've seen the film on the big screen this year, having enjoyed it at the TCM Film Festival back in April. This year is the 50th anniversary of Chinatown, and celebrating it with multiple screenings, as well as spending time with the book "The Big Goodbye" which is primarily about the making of the movie, all seems fitting.

The screenplay of course is one of those that manages to get everything pitch perfect. We know from the background on the film that it took long battles and big arguments between screenwriter Robert Towne and director Roman Polanski, to get to the finished product. Ultimately, Towne was unhappy with the ending of the movie, which of course features tragedy rather than redemption for the heroine. I think we're lucky that Polanski won, because the final line of the movie, which everyone knows, is the perfect coda for what we have seen in the previous 2 hours.

Again we need to credit the great Jerry Goldsmith for coming in at the last minute and replacing the score with a jazz infused time period appropriate combination of horns and piano. The film just wouldn't work without that set of themes or nerve racking minor key piano notes. It's also easy to give huge kudos to the production design, which manages to make Los Angeles of the 1970s look like Los Angeles of the 1930s. I imagine that there was some graffiti removed around the Los Angeles River, certainly some traffic controlled on Alameda, and the flood control channels look a heck of a lot more pristine than they probably do today. Let me also say that every piece of clothing worn by either Faye Dunaway or Jack Nicholson, should be available for us to purchase today. I know I could rock that jacket that he's wearing in the last part of the film. 

We were encouraged by the Paramount to dress up for the occasion, and although I didn't have an appropriately colored fedora, I did have a black one that worked pretty well. The tie I picked out belong to my uncle Howard, who was actually my father's uncle, and I have no doubt that he bought it sometime in the 1930s, the style is just too precious. I added some suspenders but most importantly I added a bandage to my nose to complete the picture. I got several compliments from people walking out of the theater, who appreciated a little bit of extra effort. I know I had fun and I know I love this movie.

Paramount Summer Classic Film Series-Who Framed Roger Rabbit?

It's always a joy seeing animation on the big screen but when it's combined with live action as effectively as is done in "Who Framed Roger Rabbit?", it's an even greater pleasure. This was a groundbreaking film from director Robert Zemeckis who must have twisted some arms, kissed some butt, and prayed to the movie gods to be able to have access to all of the classic cartoon characters that appear at some point or other in the film. It seems almost impossible to believe that Mickey Mouse and Bugs Bunny would share a scene together. But they do and it's hysterical.

The story builds on a well-known fantasy that there was a deliberate effort by car companies and the oil industry to get rid of the public transportation in Los Angeles. The rate at which the city was growing and the space that it was taking up was never going to be accommodated by the old red line, but the world is full of conspiracy theorists, and this plot takes its cue from that Old Chestnut. The most fantastic conceit in the film is that the characters are film stars who are animated and live in the real world. That means that humans and hippopotamuses are going to bump into one another. It means that that old joke where Bugs Bunny paints a line on the road to move the pursuers into crashing into a wall, can actually happen. And in this film it does.

Bob Hoskins needs more credit for the work that he did in this film. As the human private detective Eddie Valiant, Hoskins has to be handcuffed to animated Rodger Rabbit, have his hair stroked by an animated Jessica Rabbit, shake hands with a variety of cartoon characters that we will recognize from our childhood, and be the butt of some of the gags that we all knew from Saturday morning. He's terrific in this movie. So many people deserve credit for making the film work but let's not forget to mention animation director Richard Williams who managed to get animated critters to interact with human beings in a believable way.

There's so many things to admire about the movie, but I want to start with the opening cartoon which is done in a text Avery Style with characters that feel familiar but are completely original. Baby Herman and Rodger Rabbit dashing through the kitchen avoiding tragedy with every movement, and the toon ending up being targeted by just about every item in the kitchen drawers is just funny. When it breaks at the end because Roger can't come up with stars to show his concussion, rather than tweeting birds, it's a Hollywood Insider's dream.

Everyone should remember that Christopher Lloyd is not just a character actor but was an important star in the 1980s. Of course "Back to the Future", but also "Star Trek 3"," The Adventures of Buckaroo Banzai across the 8th Dimension", and this film, where he plays Judge Doom, a cartoon masquerading as a human. His maniacal eyes, somber expression, and creepy voice almost give him away. And when the secret is out, believe me text Avery is applauding somewhere.

The film was playing at the State Theater next door to the Paramount because there was a concert being set up at the bigger venue. We had arranged to meet a couple of friends of ours from the neighborhood in front of the theater, but they were running a little late from some appointments they had on Sunday morning. Ultimately they got into their seats about 20 seconds before the film rolled. It was nice to get a chance to do something with people that we know from the neighborhood. We had a nice lunch afterwards, and Sunday afternoon is a great time for a cartoon and something to fill your belly.