1979 Movies

‘Rocky: The Knockout Collection’ 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

When it comes to the genre of underdog sports films, they don’t make them any better than the original “Rocky.”  It was a film that came along at the right place at the right time and with the right actor.  After all, Sylvester Stallone was the writer of the original “Rocky” script, and he demanded to star in the film even though the studio wanted a big name.  Stallone was unknown at the time. It’s been 47 years since “Rocky” came out, but its staying power will last forever.  It is why I was extremely pleased to hear Warner Brothers was going to be releasing a collection of the first four “Rocky” films in 4K and in a set. It was one of my most anticipated releases of the year so far.

Many of you who are reading this review might be asking, “Where is ‘Rocky V?’ What about ‘Rocky Balboa?’ The ‘Creed‘ movies?” I heard rumblings that there are possible director’s cuts coming out for “Rocky V” and “Rocky Balboa.” As far as the “Creed” movies, I would imagine they will get a separate release, as they are part of their own universe. Now with all that out of the way, this review is going to focus on the first four “Rocky” movies and how they are available on 4K for the very first time.

The original “Rocky,” released in 1976, was nominated for 10 Academy Awards and won Best Picture.  When revisiting the film, which I’ve seen a number of times, it is easy to see why it has such staying power.  It starts with the relationship between Rocky Balboa (Sylvester Stallone) and a shy young woman named Adrian (Talia Shire) who works at a pet store.  For my money, “Rocky” is a love story, first and foremost, and it is a sports movie second. The interaction Rocky and Adrian have with one another in his apartment is one of the most tender and genuine love scenes I’ve ever seen on film.

Rocky Balboa is a local southpaw boxer in Philadelphia where he makes little to no money, and he takes a lot of abuse in the process.  He also collects for a local loan shark named Tony Gazzo, played by Joe Spinell. He hangs out at a local pub with his friend Paulie (Burt Young), who also happens to be Adrian’s brother.  Paulie isn’t always the easiest guy to get along with, but Rocky is a very patient and understanding individual.  As a matter of fact, you would be hard-pressed to find anyone that doesn’t like Rocky.  It’s a well-known fact these days that Stallone was not someone the studio wanted to portray Rocky.  However, the script was written by him, and he knew this character inside and out. He went on to write and direct “Rocky II, III and IV” which are also included in this set, along with “Rocky Balboa.”

That’s the beauty of this film.  Stallone was an underdog actor at the time he sold his script, and the film is about an underdog boxer who is given a chance to fight the heavyweight champion of the world, Apollo Creed (Carl Weathers), after Creed’s original opponent ends up injured.  Creed, being the shrewd businessman that he is, figures it would be a great idea to give an underdog a shot at the title in order to create a marketable gimmick and make some money. Rocky Balboa knows this is his chance to prove he can go make something of himself and stand out as a winner.  He is trained by the cranky yet seasoned Mickey (Burgess Meredith), who is finally willing to give Rocky a chance. The two of them joust verbally back-and-forth with one another for some great comedic relief.

In “Rocky II,” Rocky is dealing with life after the big fight with Creed.  Even though he didn’t win, he went the distance with the champion which shocked the world.  He lasted all fifteen rounds and lost based on the decision of the judges. Regardless, many people think Rocky was the true winner of the fight.  He has to figure out how to live a normal life now that he’s a well-known figure not only in Philadelphia, his hometown, but around the world as well. He starts to do commercials and even ends up with a manual labor job, but he realizes his true calling is as a boxer.

Apollo Creed also has a score to settle with Rocky.  He wants to knock him out and prove to the world and himself that he’s truly the world heavyweight champion. Creed wants to show everyone that what happened in their previous fight was a fluke.  Rocky, on the other hand, might go blind if he gets in the ring again after what happened in their last fight. He took quite a beating, but he came back for more.  He knows he’s a fighter, and he knows the risks, even though he has to think of Adrian now and their child. Mickey has devised a plan for Rocky which he thinks will allow him to win the fight and protect his eyes at the same time.

In “Rocky III,” Rocky is forced to handle success.  He learns that Mickey has been protecting him from the really good fighters out there because he wants to keep him safe and look out for him. This causes Rocky to feel like a paper champion and question his manhood.  There is also a tough challenger coming for him by the name of Clubber Lang (Mr. T) who is hellbent on embarrassing Rocky in the ring and becoming heavyweight champion of the world.  This time, though, he has a new trainer in Apollo Creed.  Rocky once again must learn a new fighting style: it is one based on endurance and speed. Clubber Lang is bigger and stronger than Rocky, so it will take everything Rocky has in him in order to defeat him.

“Rocky IV” is where it gets very interesting, as there are two cuts of the film featured here on one disc. There is the original “Rocky IV” theatrical cut and also “Rocky IV: Rocky vs. Drago,” which is the ultimate director’s cut.  This time, Rocky finds himself having to fight his biggest opponent yet in Ivan Drago (Dolph Lundgren), who is a foot taller and thirteen years younger than him. He also must train in Russia as the fight will be taking place there on Christmas Day.  Rocky will not only train like he never has before, but he will have to win in enemy territory against “The Russian,” as he’s referred to many times throughout the course of the film.

I didn’t want to give four full-length reviews for these films, as I imagine almost anyone reading this has seen and knows them fairly well, much like myself.  If I were to give my ranking of the films featured in this set, I would go with the original “Rocky” as the best, “Rocky II” as the second best, “Rocky IV: Rocky vs. Drago” as the third best, and “Rocky III” as the fourth best.  I would really advise you to check out the ultimate director’s cut of “Rocky IV” over the theatrical cut.  It’s only two minutes longer, but the film is more serious, intense, and flows in a much more effective manner.  It’s all in the tone of the film, and I loved the tone of the ultimate director’s cut.  It really gave me a new appreciation for the fourth “Rocky” film.

As soon as this set arrived, it only took me two days to go through all four films.  It was truly a treat to revisit them.  I understand why they released these four films in a set together.  It makes sense after watching them.  You can also buy them as standalone steelbooks at your local Best Buy, but I believe they have different release dates.  This set is out right now and while it is far from perfect, I’ll explain why later, if you are a “Rocky” fan, you have to buy this set for your collection.  The original “Rocky” will always be a great, great piece of cinematic history. The second film is very, very good as well.  The third one is good, but not great.  “Rocky IV: Rocky vs. Drago” is also much improved with the ultimate director’s cut.

4K Info: “Rocky: The Knockout Collection” is released on 4K from Warner Brothers Home Entertainment.  This set features five discs. The first three films are on their own individual discs and “Rocky IV” has the theatrical cut and the ultimate director’s cut on it.  There is also a Blu-ray disc of special features.  The set also comes with a digital code to have all of them in your digital library on 4K. “Rocky” has a running time of 119 minutes, “Rocky II” has a running time of 120 minutes, “Rocky III” has a running time of 100 minutes, and “Rocky IV” has a running time of 91 minutes (theatrical cut) and 93 minutes (ultimate director’s cut). All the films are rated PG. The set comes in a flipper case with a thick cardboard slipcover, so the discs are not stacked on top of each other and can be flipped through with their own slot.  On one hand, I would have loved it if they released these films in four separate cases with slipcovers in a box set.  However, for space reasons, this set works for me as it’s easy to put on the shelf with all four films together on five discs (including the Blu-ray special features disc) in a single set which isn’t much bigger than your average 4K film with a slipcover. All of the films come with Dolby Vision as well, which I was VERY happy with as a 4K collector.

Video Info: Let’s talk about the look of these films.  The original “Rocky” is probably the worst looking film out of the bunch.  I say this because of the age of the film and its low budget.  It doesn’t look awful or terrible, but I don’t think it’s ever going to be a film that looks spectacular or blows you away. There is noticeable grain here, but in many ways, it adds to the gritty nature of the original film.  That being said, if you are looking for a major upgrade with the first film on 4K, you probably are going to be disappointed.  “Rocky II” looks very, very good.  It’s a clean transfer which is smooth looking and crystal clear.  The boxing scenes, in particular, look the best I’ve ever seen them look.  This is when you can see the Dolby Vision and the HDR really, really stand out. This is a major upgrade. For “Rocky III,” the transfer is above average.  It’s better than “Rocky,” but it’s not as good as “Rocky II.”  There was noticeable grain, but it didn’t have the same old-school charm as the original look of the film. The best-looking film out of the bunch, far and away, is “Rocky IV.”  I wish the majority of the films looked like this.  This counts for both the ultimate director’s cut and the theatrical cut.  You can see everything on their faces, and they really cleaned up this film.  It looks beautiful and modern.

Audio Info: The following audio formats were used: English DTS-HD 5.1 Master Audio, English/Spanish/French Dolby Digital, and 2.0 Dolby Digital with subtitles in English, French, and Spanish. I’ve read from a lot of people online that are unhappy with how the films sound. Personally, I don’t think the audio issues are as bad as advertised, and the problems don’t take away from the viewing experience. At times, the films can fluctuate in audio, but the dips are not that frequent.  They are here and there throughout the four films. Truth be told, I would not have ever noticed these issues unless they were pointed out to me. Overall, though, I think it’s much to do about nothing.

Special Features:

“Rocky” 4K Special Features:

Audio Commentary featuring Sylvester Stallone.

Audio Commentary featuring John G. Avildsen, Irvin Winkler, Robert Chartoff, Talia Shire, Carl Weathers, Burt Young, and Garrett Brown.

Audio Commentary featuring Lou Duva and Bert Sugar

Bonus Features Disc:

The Making of Rocky vs Drago: Keep Punching

8mm Home Movies of Rocky

3 Rounds with Lou Duva

Steadicam: Then and Now

Staccato: A Composer’s Notebook

The Ring of Truth

Tribute to Burgess Meredith

Stallone Meets Rocky

Trailers

* * * ½ out of * * * *

Should You Buy It?

This set was delayed in getting to me as it had a street date of February 28th, and I imagine a lot of that had to do with people complaining about the audio issues. I’m not a film snob by any means, but I am very particular about the audio and visual quality of 4K releases, as I’ve invested heavily into the 4K format.  With all that being said, the pros outweigh the cons.  Yes, not all of the films look great, but this is the best they have ever looked, with “Rocky II” and “Rocky IV,” in particular, looking fantastic.  Yes, the audio is problematic at times, but it’s not so noticeable that it impacted my ability to hear the films or enjoy them.  Right now, the set is going for about $53 plus tax, and I think for four films in 4K that are hugely popular, it’s a good value for the price. I would say this set is imperfectly perfect, as I enjoyed watching the films and the quality of them when they were flying on all cylinders.  For film fans or Rocky fans, I think there is A LOT more to like than dislike with this collection. You can buy this set with confidence and try to ignore all of those folks out there who are analyzing every little detail to death. I think people are getting way too particular with 4K films, and this is coming from someone with high standards. The key is watching and enjoying the films with quality video and audio, and I felt I was able to do that more often than not. As far as the films themselves, many would argue these are the best films in the franchise, so it’s fine that “Rocky V” and “Rocky Balboa” are not included.  “Rocky Balboa” is enjoyable nostalgia, and I imagine it will get a proper 4K release along with “Rocky V” at some point. As I often bring up, the special features are old special features. It’s hard to get people to sit down and do special features anymore, I feel like. At the end of the day, buy this set and enjoy it!

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

No, I Haven’t Seen It Until Now: ‘Hardcore’ (1979)

Posted on by The Ultimate Rabbit

Paul Schrader’s 1979 film “Hardcore” is one I have been meaning to watch for years. Many of my film friends have sung its praises, and I have been a big fan of Schrader’s work both as a screenwriter (“Taxi Driver”) and as a director (“First Reformed” and “Patty Hearst” among others). Regardless, this quickly became one of the many films I kept promising myself I would watch but never got around to it. But then one evening, I saw it was playing at the Nuart Theatre in West Los Angeles, and I realized the time had come to finally give it a look. Besides, this might be my only chance to see it on the silver screen.

“Hardcore” opens up on Christmas in Grand Rapids, Michigan to the tune of Susan Raye’s “Precious Memories.” Schrader quickly settles us into the peaceful and family-oriented environment which looks to be filled with church-going people who love and fear God in equal measure. You just might mistake it for the average Norman Rockwell painting which often gave us images that were all too wholesome to be believed. Everything looks to be together on the same page while singing faith-based songs and sharing in traditional ceremonies without question. Of course, it’s scenes like these that make me wonder when the cracks in this atmosphere will begin to show.

The main character of this piece is Jake Van Dorn (played by George C. Scott), a well-to-do businessman with strong religious beliefs. Originally, this part almost went to Warren Beatty, but as great an actor as Beatty, he would have been wrong. Scott is perfectly cast as he has the face of someone with deeply held beliefs to where questioning them could be hazardous to your health. Eventually, you know these beliefs will be tested in the extreme as the title “Hardcore” refers to more than the sexuality on display here.

Jake’s peaceful existence becomes undone when his daughter Kristen (Ilah Davis) goes missing while on a church-sponsored trip in California. He enlists the help of the police, but after seeing all the photos on the wall of missing children, some of who still haven’t been found in years, he decides to hire a private investigator named Andy Mast (Peter Boyle) to dig a little deeper. But what Andy finds is something Jake never could have expected nor be the least prepared to deal with.

Watching Jake view a porno film in which his daughter Kristen is having sex with two men is an unnerving scene as Scott portrays a deep shock and grief which illustrates the living nightmare any parent would be thrilled to avoid. While it threatens to contain, as Ralph Garman and Kevin Smith would call it, “exquisite acting,” and the scene has become an infamous meme for many, I am curious as to what depths Scott dug to capture such an unforgettable moment of devastation. Such a scene is impossible to erase from the memory once it is viewed, and it comes to inform the relentlessness and anger he will come to experience up to the movie’s end.

From there, Jake ventures into the seedy underworld of Los Angeles, or the one which existed back in the 1970s. Like “Taxi Driver’s” Travis Bickle, he is “God’s Lonely Man” as he ventures into a place he does not belong. His brother-in-law tells him early on that God is testing him, and it is clearly the case as ventures deeper and deeper into the city’s sleazy subculture where there are an endless number of sex shopkeepers, adult theaters, and massage parlors that do more for their clients than a simple rub down. At one point, he even disguises himself as a pornography producer in an increasingly desperate effort to find his daughter, and I kept wondering if and when he might give in to temptation.

“Hardcore” was Schrader’s second film as a director, following his brilliant debut with “Blue Collar.” As with “Blue Collar,” he had quite the time wrangling his cast. Scott was said to have not gotten along with Schrader, and at one point promised the director he would finish the film only if he vowed never to direct another motion picture ever again. Well, we know Schrader promised Scott just that to get him back on set, but thank God the filmmaker never followed through on his word. This is just as well as we still had other films like “American Gigolo,” “Cat People,” “Light Sleeper” and “Affliction” to look forward to.

Indeed, this is a film that could have been upstaged by its behind-the-scenes drama which, in addition to Scott’s behavior, included an ending forced on Schrader by the studio. Indeed, the ending is “Hardcore’s” biggest flaw as it doesn’t jibe well with all which came before it, and it feels lazily staged with a shootout that feels tacked on above all else. It is thanks to Scott’s performance in the final moments that I am willing to forgive the conclusion as he keeps it from ringing completely hollow.

Still, I think “Hardcore” is a triumph for Schrader as it allows him to dig deep into themes he has explored in his many works such as the conflict between man and immorality. Moreover, there is authenticity on display here which would be hard to find today as Schrader managed to gain access to real-life sex houses and adult theaters to where there is no doubt we are dealing with the real thing and not just some cheap set. Certain sticky stains on the windows make this abundantly clear by the way.

Looking at the credits, Schrader had quite the crew to work with. The film was executive produced by John Milius who remains one of the best screenwriters ever, the score was by Jack Nitzsche who helps add even more of a lurid feeling to the sights Jake is forced to take in, and the cinematography was by Michael Chapman who performed visual wonders on both “Taxi Driver” and “Raging Bull.” Seriously, the color palette Chapman uses here aids the story considerably, and I cannot help but believe it greatly influenced the later works of Gaspar Noe and Benoit Debie.

I enjoyed Peter Boyle’s performance as private detective Andy Mast as he makes this character look all too comfortable in a city that thrives on decadence than what might appear on the surface. Even as Andy gives in to his baser needs and desires, he knows how the story is going to end and makes very few apologies for who he is. While the ending feels a bit too similar to the one from “Chinatown,” Boyle makes it work as his dialogue rings very true in a cynical and sad way.

But another performance worth singling out here is Season Hubley’s as Niki, a prostitute and part-time adult actress who aids Jake in his search. The scenes she has with Scott represent the best “Hardcore” has to offer as their dialogue regarding both sex and religion illustrates their differences and similarities in ways only Schrader could have pulled off. She fully inhabits this character to where I never doubted how much of a survivor Niki was and will continue to long after the end credits have finished.

Like William Friedkin’s “Cruising,” “Hardcore” is a journey into a subculture that no longer exists in today’s world. These days, it is much easier to gain access to pornography through the internet, and it makes me wonder how Jake would deal with a similar situation in today’s world. Things would be a bit easier to trace, and that’s even though some lost children might forever stay lost (please feel free to prove me wrong on this). As devoutly religious as Jake is, I imagine in a time where the world wide web and cell phones control our lives more than ever, he would most likely be more isolated and closed off from those around him than ever before.

“Hardcore” is indeed classic Paul Schrader even with its inescapable flaws, and I have no doubt “8MM,” the 1999 film directed by the late Joel Schumacher and written by Andrew Kevin Walker, would not have existed without it. “8MM” also pales in comparison to it by the way. I look at movies like these and wonder why studios won’t leave the filmmakers alone in making them. You know how dark the material was when you started funding the project, right? So why insult everyone’s intelligence by trying to make things a little less dark?

* * * ½ out of * * * *

No, I Haven’t Seen It Until Now: ‘When a Stranger Calls’ (1979)

Posted on by The Ultimate Rabbit

The original “When a Stranger Calls” from 1979 is a horror movie I am tempted to say I have seen many times already. This is because the scenes with Carol Kane playing a babysitter who is menaced by an anonymous caller who taunts her endlessly as he constantly asks if she has checked on the kids are scenes I have watched from time to time. It’s those scenes which keep getting presented on shows which celebrate the scariest horror movie moments, and it was featured in the documentary “Terror in the Aisles.” Even Wes Craven and Kevin Williamson paid homage to it in the “Scream” movies, and they did to such a powerful effect. Those scenes were enough to frighten me to my very core as being alone in the house was always deeply frightening to me when I was young, and the sound of silence can make things seem even more unnerving as it can get punctured at any given second.

Truth is, I never watched “When a Stranger Calls” until now. I finally took the time to watch it when I found it was available to stream on Amazon Prime. Like many movies I watch on this particular streaming service, I figured I would just watch it for a few minutes and then turn it off, perhaps hoping to watch the rest of it later. But in the end, I found myself watching it to its brutal conclusion, and this proved to be for better and, especially, for worse.

“When a Stranger Calls” starts off with Jill Johnson (Carol Kane) arriving at the home of Mr. and Mrs. Mandrakis (Carmen Argenziano and Rutanya Alda) to babysit their children while they are at a party. Everything starts off fine with Jill relaxing at the residence and speaking with her friend about the latest gossip at school. But while working on school assignments, she starts receiving phone calls from a man who keeps asking her if she has checked on the children. As the calls keep coming at her with the volume of each ring getting increasingly louder, Jill hears the man saying he wants her blood all over his body. To her credit, she does the smart thing by calling the police who attempt to trace these calls to their source. Of course, then they discover that the caller is actually inside the house…

The opening 12 minutes of “When a Stranger Calls” have long since become iconic as it does provide audiences with one of the most terrifying scenes in a horror film, and it does so without any blood or gore. Director Fred Walton does a brilliant job of setting up this babysitter in a normal home environment which is no different from the ones we have lived in, and the silence of them when the stereo isn’t on and playing the top 40 hits proves to be quite deafening. With scenes like these, we are reminded of how what we don’t see proves to be more infinitely terrifying than what we do.

But therein lies the problem with this film, it peaks too soon. Once Jill’s horrifying predicament comes to an end as she runs straight into private investigator John Clifford (Charles Durning), the story then moves to a number of years later when John is obsessively pursuing the man on the other end of the phone line, Curt Duncan (Tony Beckley) who has just escaped the insane asylum he was committed to. What results from there is frustratingly dull as “When a Stranger Calls” wastes fine actors in a movie which looked to promise so much more than it ends up giving.

It really sucks to say this as this film features a very talented cast who do give the material their all despite it being so lackluster. Durning gives us a fully realized character who is ever so obsessed about capturing the man who laid waste to a family in the worst way possible. Beckley, who died six months after the film’s premiere, does a strong job of inhabiting such an insane and unstable character in Curt to where I never caught him overacting. We also have Colleen Dewhurst on board as Tracy Fuller, a person who comes into contact with Curt in a rather ambivalent fashion, but once she does, things become far too predictable.

“When a Stranger Calls” does eventually return to Jill’s life years later when she is married and has children of her own, and this does result in a much-needed increase in suspense and tension as we are reminded of the hell she went through. We even get one highly effective jump scare, but it all leads to a conclusion which proved to be deeply unsatisfying.

When it comes to Kane, she is the best thing this movie has to offer. She has long since proven to be a tremendous comedic talent in movies like “Annie Hall” and “The Princess Bride, the TV shows “Taxi” and “Unbreakable Kimmy Schmidt,” and she was fearless in her portrayal of one of John Munch’s ex-wives on “Homicide: Life on the Street.” Here, she goes from playing a young student and babysitter to a woman still dealing with the trauma and guilt over a horrific event. Kane looks like an ordinary person here which helps to make her terrifying ordeal feel even more real, and she inhabits Jill with an unshakeable fear as the phone rings louder and louder and the calls get more and more threatening. Her performance is tremendous as she made me feel Jill’s fear and desperation throughout.

Now as much as I try to view a movie for what it’s trying to be instead of what I want it to be, I cannot help but think of how much better it could have been. Frankly, I think it should have focused more on Jill and how she deals with all she has been through. It could have been something along the lines of David Gordon Green’s “Halloween” reboot which catches up with Laurie Strode 40 years after her near-death encounter with Michael Myers. This would have been more enthralling as Kane is so good here, and watching her trying to process all she has been through is far more interesting than following a cop obsessed with catching a killer.

It also would have helped if Curt had been kept in the shadows, like the alien in “Alien,” the thought of him proves to be more haunting than his appearance. Some people want to see the monster right away, but like the anonymous truck driver in “Joy Ride,” a strange voice can be far more unnerving. The fact the filmmakers give Curt a face within the first half hour just killed much of the suspense and terror they thought this movie would have.

Having finally watched the original “When a Stranger Calls,” I can see why it still resonates strongly with horror fans, as those first 12 minutes are truly terrifying. While the rest of it doesn’t hold up, the opening has long since enshrined the movie as a classic scary flick in the eyes of many. It even got a sequel, albeit a made for cable one, in 1993 with “When a Stranger Calls Back,” and both Kane and Durning returned to reprise their roles. And yes, there was an inevitable remake of it back in 2006, but judging from its trailers, the thing looks like a Noxzema commercial disguised as a horror flick.  

But seriously folks, 12 great minutes does not a good movie make, and this one had the potential to much better than it was. The more I think about “When a Stranger Calls,” the more a certain question comes to mind; Is this film a cinematic example of premature ejaculation? Seriously, I’m asking for a friend.

* * out of * * * *  

Jason Reitman Talks With Dennis Christopher and Daniel Stern about ‘Breaking Away’

Posted on by The Ultimate Rabbit

WRITER’S NOTE: This screening took place back in 2011.

Jason Reitman described the last double feature he presented as part of his guest programming at New Beverly Cinema by saying, “Whereas the last few movies I chose were sad in some respects, these two just make you feel good.” After dealing with the downfalls and missed opportunities which were major parts of “Shampoo” and “Boogie Nights,” he finished off his slate of favorites with “Breaking Away” and “Bottle Rocket.”

The first movie shown was “Breaking Away” which was directed by Peter Yates, the same man who made the Steve McQueen classic “Bullitt.” For years it has been considered one of the best sports movies ever made, and it’s also a movie where several young actors got their start together like in “Taps” or “Fast Times at Ridgemont High.” Among those actors were Dennis Quaid, Dennis Christopher and Daniel Stern. We even got to see a teenage Jackie Earle Haley in it, and he has since gone from career oblivion to critical acclaim for his performances in “Little Children” and “Watchmen.”

Reitman asked how many people in the audience were seeing this film for the first time, and many hands, including mine, immediately went up. To this he replied, “I am so jealous!”

On “Breaking Away,” Reitman described it as a movie you associate with watching with your father, and one which captures the lives of twenty somethings very well in the indecisions of where to go from high school; unsure of what to do with the rest of their lives. It’s also a great story about class wars in society; of those who have everything and those who never have enough. Upon looking for trivia about “Breaking Away,” Reitman found the film was originally two screenplays. One was called “The Cutters” which became the name of the people from the working-class environment, and the other one was about the bike race the characters train for.

Joining Reitman for this screening were Dennis Christopher who played the endlessly obsessive bike rider Dave Stoller, and Daniel Stern who played Cyril. Reitman usually had his guests hidden from sight before introducing them, but they were already in the theater giving autographs and posing for pictures which got posted on Facebook. Both Quaid and Stern also said they were so envious of those who were seeing this for the first time.

Reitman started off by asking them if they knew they were working on something very special. Stern was the first to reply:

“That was my first movie,” Stern said. “I had never been in a movie before, and so I thought they were all like that. There is a wonderful simplicity to the movie, to the script, to the way the movie was made and the way it comes across. It does have a lot of depth to it too. I look back at it thinking, that was just an incredibly unique experience. I didn’t know what I was doing, I didn’t know where the camera was, and I didn’t know anything about that!”

Christopher, on the other hand, had worked in movies before with acclaimed directors like Robert Altman and Federico Fellini, so he knew a bit about being on big sets. The experience of making “Breaking Away” proved to be a bit different though.

“The thing that really made it special was because after that horrible first day of being a big Italian impersonator, because they made me all dark and I had my hair slicked back, black shirt, a tight waistline, etc. He was supposed to look like a ‘Saturday Night Fever’ guy,” Christopher said. “He (Yates) wanted him to be that kind of Italian. And I thought, why the fuck did they hire me? I looked like Lily Tomlin would when dressed up like men! That’s exactly what I looked like! I was waiting for them to glue hair on my chest!”

“I was so shaken, and the next day I came onto the set and I just burst into tears,” Christopher continued. “I told Peter that I just can’t do this and he said I KNOW, I KNOW! And we had a big talk with Steven (Tisch, who won an Oscar for his screenplay) and Peter, and then the character evolved; the way he looked and the way he was. So for me that was the special thing of collaborating with a director who cared about what you thought. So, for me I thought whoa, this is amazing!”

Reitman then spoke for those who had this on their minds after Christopher spoke:

“So what you’re saying is that Robert Altman really doesn’t care…”

This got a big laugh from the audience.

After making all the changes with Christopher’s character and making it more like him, they reshot everything and had to wait three weeks to see how it all looked. For those who have seen this movie, you have to agree this was one of the smartest choices Yates made. If Christopher was forced to do an Italian impersonation, it probably would have wrecked the movie.

Reitman also asked Christopher and Stern what kind of bike riding they did before production began. Christopher replied he did the “regular kind” and was never involved in any bike competitions like his character. Stern, on the other hand, said he was not a bike rider which turned out to be perfect for his character.

This led Stern to tell everyone he didn’t even audition for “Breaking Away.” He came into the office to read for Yates, and he was on a phone call nearby and saw him. Once he got off the phone, Yates handed Stern a script and was asked to be on set in a short time.

Unlike a lot of the big productions he had previously been involved in, Christopher said this film was almost completely the opposite of them. They had a very small crew working on it, and there was no overabundance of trailers parked on every street corner.

Barbara Barrie played Dave Stoller’s mother, Evelyn, and she got nominated for an Academy Award for Best Supporting Actress. However, it turns out she was a little peeved when she read the script and found there was no big scene for her. Christopher even recalled her telling Yates quite loudly, “WHERE IS MY BIG SCENE?!” So Barrie, Tisch and Yates worked together and did an improvisation which led to that wonderful moment where Evelyn talks about getting her passport and how she always keeps it handy.

People did not expect much from “Breaking Away” while it was being made, but it turned out to be a surprising success which won many awards, and it even spawned a prequel television series in which Haley and Barrie reprised their roles for. Of course, like many movies adapted to television, it lasted only one season. Stern called it “the little engine that could kind of movie,” and he even came to this screening wearing his white “Cutters” t-shirt. Christopher said this and “My Bodyguard” were the first movies for kids which were taken seriously by adults, and he and Stern said people’s overall reaction to it today is still quite powerful.

Christopher also told the audience about when he took his dad, whom he was estranged from at the time, to see “Breaking Away” when it was first released. After it was over, he said his dad came out of it “ruined” and looked quite frail. His dad could not believe how great the movie was, and when people outside the theater asked Christopher for his autograph, he got in line with the others. His dad even acted as his security chief in getting people in the line to move along.

The Q&A ended with both actors asking Reitman, “Is this a good print of the movie we’re showing tonight?”

“We’ll see,”Reitman replied.

Reitman said he had previously seen “Breaking Away” on VHS and laserdisc but seeing it with an audience was something else. The nearly sold-out crowd at New Beverly Cinema really got into the proceedings and cheered loudly throughout. You came out of the theater agreeing with Reitman that “Breaking Away” was as good as reputation has long since suggested.

Ridley Scott’s ‘Alien’ Remains an Exceptionally Intense Experience

Posted on by The Ultimate Rabbit

Alien movie poster

In regards to horror movies, “John Carpenter’s The Thing” ranks highest on the list of my all-time favorite movies in general. However, if you were to ask me what I consider to be the scariest movie ever, the first that quickly comes to mind is Ridley Scott’s “Alien.” Now considered a classic haunted house kind of movie, it freaked me out far more than I had expected it to. These days, if I come across someone who hasn’t seen “Alien,” I would be desperate to take the time and watch it with them just to see the look on their face. What may seem like a harmless old science fiction movie still has the power to unnerve and creep up on its audience when they least expect it.

Now when I say that this movie freaked me out more than I expected it to, there are a number of reasons why: I ended up seeing James Cameron’s sequel “Aliens” beforehand, so I already knew Ellen Ripley (played by Sigourney Weaver) was the sole survivor from the original. When I watched “Alien” for the very first time, it was back in the days of VCR’s and VHS tapes, and the one I obtained from my favorite video store was a fairly old copy which showed a bit of wear and tear. When it came to watching it, I got consigned to my parents’ bedroom as they had already called dibs on the big television in the family room which was connected to a “super cool” stereo system. The TV set in their bedroom was tiny by today’s standards. As I remember, it was a 13-inch set which was already on its last legs after years of use. This one didn’t have any surround sound system to enhance the experience, so I just tried to be happy I had a TV to view it on at all.

Having said all this, “Alien” still had my hairs standing on end throughout. Even though I knew who would live and die, the suspense and tension were extreme throughout, and you never ever felt safe on board the spaceship Nostromo. I can still remember hiding my eyes and would be turning the volume down at certain points because my heart threatened to stop beating a few times. Imagine if I had watched it for the first time on a big screen TV with surround system, or better yet, in a movie theater when it originally came out! I wouldn’t have slept for days! Some movies play better on the silver screen than on your television, but “Alien” appears to work on either format with the same degree of success.

There are many different reasons why Scott’s film remains such an effective sci-fi horror classic to this day. For me, it starts with the characters and how down to earth they are. While other outer space movies have characters who revel in the wonder of what’s out there, all the workers on the Nostromo treat their dark habitat as just another office job they take to get by. When we meet up with them, they are on their way back to Earth and just want to be home already. The writers also gave the actors dialogue which was never too heavy on the technobabble and hearing the characters talk about how they deserve full shares for the work they did defines them as blue collar workers. These are not brilliant scientists looking to discover new planets; they’re just people working for the man. The time Scott takes in introducing all these individuals pays off by the time we are given a visceral introduction to the alien of the movie’s title.

Now let’s talk about this alien which was designed by H.R. Geiger, a Swiss surrealist artist. I can’t really compare it to other movie creatures I’ve seen in the slightest because it looks so frighteningly unique in its construction. Its mouth hides an additional set of jaws that lunges out at unsuspecting victims as if they are “faster than a speeding bullet.” Furthermore, there is something quite phallic about that jaw in how it juts out at you without warning or of any thought of the damage it is about to inflict. Its lethal penetration is highly unnerving in how it reminds the viewer of what we all agree constitutes a serious and unconscionable violation to the human body.

But one of Ridley’s most brilliant moves with “Alien” was in not showing the creature fully. We only got glimpses of it throughout the film until the end, and even then we weren’t entirely sure of all that we saw. It was all up to our imaginations to figure out what kind of a threat this creature is. This added immeasurably to the film’s infinite suspense and unending tension. Plus, with the spaceship Nostromo designed to look all dark and shabby with not much light to be found in certain sections, this made it easier for the creature to hide. When it leaped up at the cast member about to meet his maker, it was completely unexpected and defined the jump out of your seat moment for me.

As the movie goes on, we get to an even more frightening aspect; of how corporations can put profits above their workers so coldly. When Ripley discovers the Nostromo crew was made to pick up an alien organism to bring back for further study and that they were expendable, it only further demonstrates just how much alone everyone is on the ship. To realize the company which has employed you couldn’t care less about your existence makes you fully aware of your immediate surroundings, and the instinct to survive becomes stronger than ever. Of course, are cynicism today has us expecting this from any corporation we work with, so we’re more prepared for this than the Nostromo crew was.

A lot of credit also goes to the late Jerry Goldsmith for creating a music score which adds subtly to the action, or at least until the film’s last half hour when the realm of outer space feels even smaller than before. His music touches on the tension inherent in each character without becoming melodramatic, and at times it sounds like invisible ghosts hovering over the unprepared crew waiting to strike. Also, the use of silence in certain scenes makes it even more frightening as we are reminded of how unsettling things can be when our surroundings become far too quiet for comfort.

All of this leads to one of the most intense climaxes in cinema history as we are fully aware of time running out. Just when you think the movie’s over, there’s still another horrendous challenge to overcome. It’s in the movie’s last minute where you can finally breathe a much-needed sigh of relief. Even if you know how of this movie will end, it is still an intensely riveting experience that never lets up for a second. The look in Ripley’s eyes as she makes her way to the escape shuttle perfectly mirrors our own emotions as she is forced into a situation which leaves her with no other options to consider.

I still have very vivid memories of seeing this movie on that unspectacular little television set in my parents’ bedroom while they enjoyed something on Masterpiece Theater with more advanced technology. As the beginning credits began to roll, I was convinced that sitting through this would be a piece of cake. Coincidentally, I also felt the same way about the original version of “The Texas Chainsaw Massacre” when I rented it through Netflix. “Alien” remains one of the most truly terrifying experiences I have ever had watching a movie either on the big screen or the small one. To this day, it remains an effectively scary movie which has lost none of its power. Now if 20th Century Fox had fully realized how all these elements had added to make such a great movie, those hopelessly pathetic “Alien vs. Predator” films might have actually been worth watching.

* * * * out of * * * *

 

Veronica Cartwright Looks Back at the Chestburster Scene from ‘Alien’

Posted on by The Ultimate Rabbit

Veronica Cartwright in Alien

While Veronica Cartwright was at New Beverly Cinema to talk about “The Right Stuff,” filmmaker Brian McQuery couldn’t help but ask her a question about another famous movie she starred in, “Alien.” Specifically, he wanted to know more about the “chestburster” scene which is one of the film’s most horrifying moments. The story behind this scene has been told over and over again throughout the years, but Cartwright was still willing to talk and clear up a few things about it.

Legend has it neither Cartwright nor the other actors in “Alien” had any idea of what exactly was going to erupt from John Hurt’s chest. Cartwright, however, said the actors had read the script and knew something was supposed to come out of there. Also, she and Sigourney Weaver had a scene where they were supposed to know what it looked like, but they had no clue what they were going to be talking about. As a result, they visited the studio where the infant alien was being built.

“A few weeks earlier we had gone down and seen the little mockup of that little penis guy with the tail, but it wasn’t working at that point,” Cartwright said of the alien. “It was sort of a gray thing and the artists were saying ‘oh his teeth will be like this and he breathes…’ It was just like a little puppet thing that came out.”

Then came the day when the chestburster scene was shot, and Cartwright described it as though she had just filmed it yesterday.

“We’re all upstairs in the dressing room and they take John (Hurt) down, and for four hours we never saw John. John was having his false chest made,” Cartwright said. “When we were told that we could come down to the set, the entire set was dressed in plastic, everybody’s wearing raincoats, and there were big buckets of this awful stuff that smelled like formaldehyde. It stank and you gagged when you first went in there.”

“So, here’s John packed in this thing, and they had four cameras so that they would get everybody’s reaction,” Cartwright continued. “What happens is that they cut the t-shirt so that the puppeteer could push the thing through, so we all start leaning forward because you’re just fascinated to see what’s going to happen. One of the effects guys told me, ‘oh you’ll be getting a little blood on you,’ and I said, ‘oh okay.’ Not thinking, I leaned right into it. I had a jet pointed at my face, and it just shot me square in the face. It was unbelievable, and then I backed up and (in the dailies, it’s the most hysterical thing) my knees hit the back of a set piece and I flipped upside down to where you can see my cowboy boots sticking up above. I did not expect to get shot with a full blast of blood.

Veronica gets sprayed in Alien

Cartwright pointed out that the scene was done in just one take, and McQuery replied how her reaction looked “really real!” The audience at the New Beverly laughed loudly in agreement with him.

“Years later I worked with that same guy and he said, ‘sorry about that!’ How rude,” Cartwright said.

Looking back, Cartwright described “Alien” as being a very “sweaty” movie because the cast would come on the set in the morning and get covered in glycerin from a pumper. She described this as being “so gross,” but that in the end it was an experience.

While she was primarily at New Beverly Cinema to talk about “The Right Stuff,” the audience was glad McQuery asked Cartwright about the making of Ridley Scott’s classic 1979 film. Just when you think you have heard the definitive story about a classic movie scene, one of its participants comes around to inform you of one or two details you might have missed.

Photos courtesy of 20th Century Fox