Clint Eastwood

No, I Haven’t Seen It Until Now: Akira Kurosawa’s ‘Ran’

Posted on by The Ultimate Rabbit

I pride myself on having a vast knowledge of movies. While my many of my friends stumble across a movie they don’t recognize, I am usually quick to name it even if I have never watched it before. Everyone is amazed at how I could know such things. Still, when it comes to older movies and the great filmmakers who ever lived, there are still many I need to catch up on.

One of those filmmakers I really need to catch up on is Akira Kurosawa who is considered by many to one of the greatest of all time. Until I saw “Ran,”, the only movie of his I had previously watched was “The Seven Samurai” which really is one of greatest movies ever made. Of course, I got exposed to the American remake, “The Magnificent Seven,” beforehand, but anyway.

“Ran” was the very last movie Kurosawa made on such an epic scale, and as amazing as it looked when it was first released, this is even more the case more than 30 years later. Kurosawa clearly had the power to request literally thousands of extras, and it is easy to see well-dressed studio executives looking at him to where, had he made this movie today, would have asked him:

“Can’t you just add all these people in with CGI? Wouldn’t it be easier and cheaper just to hire like 50 guys instead of 1200?”

If they didn’t ask them that, they would obviously come up with the obvious solution:

“We’ll solve it in post!”

Looking at the title and scenes from the movie trailer, I figured the title “Ran” meant the main characters were running from certain doom throughout like it was a big chase. This should show you what I know about the Japanese language, and that is not much. “Ran” actually means “revolt” or “chaos,” and Kurosawa’s movie is filled with so much of both to where this is ends up being a cinematic experience both physically and emotionally draining.

Kurosawa based the story on the legends of the daimyo Mori Motonari and of how he had three sons who were intensely loyal to him. This led him to look at the story a little differently and say the following:

“When I read that three arrows together are invincible, that’s not true. I started doubting, and that’s when I started thinking: the house was prosperous and the sons were courageous. What if this fascinating man had bad sons?”

Of course, anyone familiar with William Shakespeare will say that “Ran” is heavily influenced by the tragedy of “King Lear.” Indeed, the story very much resembles that of “King Lear” as we watch a powerful leader abdicate his throne, and he ends up being betrayed by his own blood in the process.

The powerful leader at the center of “Ran” is Hidetora, leader of the Ichimonji clan. The story starts with Hidetora abdicating his throne to his three sons Taro, Jiro, and Saburo. The majority of the power is given to Taro who is his eldest son, and Jiro and Saburo are ordered by their father to support him no matter what. Saburo, however, does not agree with Hidetora’s decision to disperse all of his powers, reminding him how his kingdom came about through his own treachery and massacre of others. Hidetora starts acting all uppity as if he’s a superstar celebrity who is not used to hearing the word “no” much, and he banishes Saburo from the clan as well as his servant Tango who speaks in Saburo’s defense. It’s amazing what breaking three arrows together can do to a man’s ego.

From there, it is a vicious downfall for Hidetora as he is banished from his kingdom ever so coldly. Many characters here profess to believe in a god, be it Buddha or someone else, and they pray for their assistance in this little world which is quickly collapsing. If there is a god watching over them, he, or she, is blind to their sufferings or deaf to their endless prayers. Hence, this is quite a bleak movie from a thematic and visual standpoint.

After watching “Ran,” I was compelled to learn more about it. While researching the movie more deeply, It turns out “King Lear” never really entered Kurosawa’s mind until he was deep into pre-production. Along the way, he did incorporate different elements of the play into it, and he had this to say about Shakespeare’s classic tragedy:

“What has always troubled me about ‘King Lear’ is that Shakespeare gives his characters no past. … In Ran, I have tried to give Lear a history.”

Now this is what gives Hidetora, among others characters, such gravity throughout the nearly three-hour running time. He was not a leader who earned his kingdom through family succession, but through the pillaging of villages and murdering those who were against them. Perhaps he would like to forget this, but his power and family are forever stained by his deeds, and he is reminded of this in the most painful of ways.

With this in mind, it is no wonder two of Hidetora’s three sons end up turning against him. What his legacy has taught them is you can’t get anywhere in life without beating the crap out of the other guy and stealing everything he and his followers have. Only Saburo is fearless and selfless in telling him this and of pointing out the fact he will always be seen as a killer. Saburo at least cares enough to tell him this instead of just sucking up to him like his brothers do. Some people hear the word “yes” once too often when they need some others say “no” every once in a while.

As we see Hidetora losing his mind and in a state of disbelief, I was reminded of Will Munny, Clint Eastwood character from “Unforgiven.” Both these characters become sick, and in their feverish state they become haunted by the lives they ended ever so coldly. They have tried to convince themselves they are not the same people they once were, and Hidetora appears to develop amnesia in an effort to block his mind of his past deeds. But nightmares abound in his sleep reminding him of the price he has yet to pay. You could even compare this character to Anakin Skywalker who becomes the very thing he fought against in “Star Wars Episode III: Revenge of the Sith.” In the process of trying to prevent the love of his life from dying, he gives up everything he believes in. Hidetora believes that by passing the leadership duties to his oldest son his clan will continue to prosper. The more we fear of something bad happening, the more likely that bad thing will happen.

Taking this into account makes me realize one of the most important elements in the Kurosawa movies I have seen; they are very dependent on the depth of their characters as much as they are on spectacle. Granted, this is only the second movie of his I have seen, but it feels like just enough to understand why his cinematic works made such a strong impression on Steven Spielberg and George Lucas (“The Hidden Fortress” is said to have been a huge influence on “Star Wars”). Most movies today are just about spectacle, and the characters are usually a distant second to it. But it is this focus on character which makes “Ran” so involving and gives its epic scope much more meaning.

But let’s talk about the spectacle of “Ran” which is incredible to say the least. One of the key sequences is the horrific massacre which takes place at the third castle where Hidetora takes refuge. What really struck me was how Kurosawa put Tōru Takemitsu’s music score over the sounds of violence perpetrated by his sons as it gives what is being presented to us with far more emotional power. Takemitsu’s music further illustrates the immense tragedy tearing this powerful clan apart which leaves Hidetora in an endless state of shock. Without the music, it would still be a cinematic high mark of capturing battle on celluloid, but it would not have the same effect.

The bloodbath of the massacre is made all the more vivid by Kurosawa as “Ran” was made long before the advent of CGI effects. With this sequence, Kurosawa brilliantly captures the ugliness and viciousness of war, and of the cruel nature which dominates these characters’ humanity.

All the acting is nothing short of excellent from as the entire cast invests each of their characters with various complexities which allow them to surprise us in unexpected ways. Hidetora is played by Tatsuya Nakadai, and he immerses himself completely into playing a man whose own pride and self-righteousness proves to be his undoing. Without saying a word in the last half of the massacre, Hidetora communicates his utter regret of his thoughtless decision making which has led to the decimation of what he once had. Nakadai makes Hidetora’s eventual descent into madness all the more vivid, and his performance never ever descends into camp.

I also loved Mieko Harada’s performance as Lady Kaede, Kurosawa’s version of Lady Macbeth. Through her deceitful ways, viciousness and endless manipulation, she always seems to get her way and turn the men around her into quivering jelly. Harada’s moments onscreen are among my favorites as she exploits the fears of the men around her and seduces them despite their mistrust of her. Never let it be said that Kurosawa ever writes weak roles for women because it certainly isn’t the case here. Lady Kaede wants to maintain her high status in the clan, and she is ruthless in how she pursues it.

You could say they don’t make movies like “Ran” anymore, but it did come out in a time when they weren’t being made much. For many, it serves as the culmination of all his talents, of what he has accomplished in his career, and of all the struggle and tears he shed while making this movie. During the making of “Ran,” Kurosawa’s wife passed away. By the time he got around to shooting the movie after working on the script for ten years, he was almost completely blind. Regardless of these setbacks, nothing stopped him from making this movie.

Years after its release, “Ran” stands as one of the classic movies from one of the best filmmakers ever. No one can or should doubt the heart and soul Kurosawa put into it for years and years, and getting to see it on the silver screen was a real treat. When all is said and done, the silver screen is where this movie belongs.

* * * * out of * * * *

‘The Lincoln Lawyer’ – The Beginning of the McConaughey Renaissance

Posted on by The Ultimate Rabbit

WRITER’S NOTE: This review was written in 2011, back when the McConaughey renaissance was just beginning. This almost marks the 1,000th post on The Ultimate Rabbit website!

Okay, now how many dramas and thrillers featuring a lawyer as the main character have we had these past few years? Heck, how many novels featuring lawyers have been thrust at us? After everything written by John Grisham and Scott Turow, you’d think the world would have had enough of legal thrillers whether or not they made it to the silver screen. It all reminds me of that joke we’ve all heard:

“What do you call a thousand lawyers at the bottom of the ocean? A good start!”

As a result, I was in no immediate hurry to check out the latest legal thriller adapted into a movie, “The Lincoln Lawyer.” This particular one is about a defense lawyer who has no scruples about what he does, but he ends up getting involved in a case which haunts his conscience like no other. Looking this plot line over, it sounds like “Primal Fear” all over again. How many times have we been down this road? Yes, I agree, far too many.

But alas, while “The Lincoln Lawyer” breaks no new ground in the legal thriller genre, it does contain many clever twists up its sleeve which distinguishes it from others of its ilk. It is based on the novel of the same name by Michael Connelly who is best known for writing detective novels and crime fiction. One of his previous books, “Blood Work,” was turned into a movie by Clint Eastwood, and it is one of the very few Eastwood directed movies which really sucked. It turns out, however, that “The Lincoln Lawyer” was actually Connelly’s first legal novel, and it introduced the world to one of his most popular literary creations, Mickey Haller.

Mickey Haller is a criminal defense attorney who spends his time defending the kind of people we would all rather see behind bars. Instead of a regular office, he works out of his Lincoln Town Car which he gets driven around in by Earl (Laurence Mason), a former client of his who is working off legal fees he owes. He has an ex-wife, Margaret McPherson (Marisa Tomei), whom he is still on good terms with even though she works on the opposite side of the court as a prosecutor, and they have a daughter whom they both dote on, and you at times wonder why these two ever bothered to divorce. If James Carville and Mary Matlin can maintain a marriage, why can’t these two?

Anyway, Mickey ends up defending Louis Roulet (Ryan Phillippe), a Beverly Hills realtor who is accused of viciously assaulting a prostitute. The case, after some research, looks to be an open and shut deal for this ever so confident lawyer. However, more problems arise to where things are not what they appear to be.

That’s all I’m going to say about the plot. To say anymore would be to give away a good deal of what happens. What I will say is that it makes for a good story in how someone has to find a way to find justice without being forever disbarred from practicing law.

Much of the success of “The Lincoln Lawyer” belongs to the actor chosen to play Mickey, Matthew McConaughey. After seeing him in so many useless romantic comedies, he gets one of his best roles to date here. Believe me when I say he is perfectly cast in this role, and he nails Mickey’s sly confidence and cocky demeanor as he works his way through the courtroom to get what he wants and needs. Mickey is to an extent an amoral character, one who appears to care less about whether or not those he represents will commit crimes again after he gets them off. But McConaughey is so cool here that we find it impossible to hate Mickey, and we love his (if you’ll forgive the expression) “Rico Suave” ways which he utilizes around everyone he meets. Whether or not you agree with what he does, we all would love to have his coolness and persuasiveness when it comes to talking with and influencing others.

It also helps that McConaughey is surrounded by a great cast of actors who give him plenty to work with. Tomei remains as terrific and super sexy as ever in her portrayal of Margaret, and she shares strong chemistry with McConaughey throughout. We also get an entertaining turn from the always dependable William H. Macy as investigator Frank Levin, Haller’s right-hand man who succeeds in getting the facts whether he does it legally or illegally. We also get strong turns from John Leguizamo, Michael Peña, and Frances Fisher who all bring their best selves to this material.

But one performance I want to single out here is Ryan Phillippe’s. As a Beverly Hills playboy who has had everything handed to him on a silver platter throughout his life, Phillippe excels in convincing everyone around and the audience of Louis’ intentions. Still, there is that glimmer in Louis’ eyes which suggests not everything he says or implies is on the level. Phillippe has been better known these past few years as Mr. Reese Witherspoon, but however things went down in that relationship, he deserves to be noted for his acting here and in other movies he has been in. Watching him onscreen here is riveting because he always leaves you guessing as to what will happen next.

Directing “The Lincoln Lawyer” is Brad Furman, and the only movie he previously directed is “The Take.” I really liked how vividly he captured the urban environment of Los Angeles, and it never felt like he was filming on some ordinary Hollywood set. With a story like this, Furman could have easily gone in that direction, but he gives each scene a solid reality which doesn’t feel all that far from the one we inhabit. He also keeps the suspense up throughout and gives us some tension filled scenes which keep us at full attention as if someone is about to come from behind us and bash our brains in.

Like I said, “The Lincoln Lawyer” does not reinvent the legal thriller genre, but it reinvigorates the genre with a strong and enigmatic main character and a story with twists we haven’t seen in some time. In a way, this movie brings McConaughey around full circle as he made his big breakthrough in the film adaptation of John Grisham’s “A Time to Kill.” Soon or later, this man who keeps telling us to just “keep on livin’” had to play another lawyer. I hope for his sake he gets to do a follow up to this one as he has this character down flat. Maybe others could have done it better, but who comes to mind as quickly as McConaughey?

* * * out of * * * *

‘Cry Macho’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

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

“Cry Macho” shows a more sensitive and vulnerable Clint Eastwood looking back on his film career and life. After all, this is the 50th anniversary of his working relationship with Warner Brothers.  He has always been a patient filmmaker known for gorgeous scenery and knowing how to get the most out of each and every scene. Roger Ebert once said Eastwood’s films are a prime example of old-fashioned Hollywood craftsmanship.  The fact Eastwood is 91 and still directing and acting in films is truly astounding and surreal. This is a quiet, peaceful and contemplative film.  As an actor, he has always known how less is more. He’s never been an overly loud or showy actor, and he knows the best way to get an emotional reaction out of the audience is through his face. 

This film is set in 1979 as Eastwood plays Mike Milo, a retired rodeo star who has turned to booze and pills due to a broken back. His ex-boss Howard Polk (Dwight Yoakam) calls in a favor with Mike after all he’s done to support him throughout the years.  He wants Mike to go from Texas to Mexico and bring back his thirteen-year-old son Rafo (Eduardo Minett).  Howard claims he can’t go there for legal reasons and because of trouble with the son’s mother.  Mike will do this job as a one-time favor for Howard, but he has his reservations about the situation.  He wonders if Howard’s son will come with him and how he’s going to pull this off.

Upon entering Mexico, he runs into Howard’s ex, Leta (Fernanda Urrejola), who claims he can take her son if he’s able to find him.  In her eyes, he’s getting into trouble all of the time and spending too much time at cock fights with his rooster named Macho. Rafo doesn’t trust anyone, especially Mike, but he’s interested in reconnecting with his father and getting away from his mother and her many male suitors.  Many of these men have beaten Rafo in the past, and he wants to get as far away from that as possible.

Along the way, Mike, Rafo and Macho have to escape from police officers as well as Leta’s goons.  They have car issues and also have trouble connecting with each other at times.  On the other hand, Mike sees a chance at redemption with Rafo in that he can make up for the mistakes of his past. He sees something special in Rafo, especially with how the kid has been forced to grow up very quickly because of his upbringing. They do get some help along the way from a widow named Marta (Natalia Traven) and her grandchildren.  There might even be a little bit of a love story between Marta and Mike as well.

First and foremost, let’s talk about the good things in “Cry Macho.” The film is beautifully paced. Eastwood is known as a director who usually shoots scenes in one-take. There is something very authentic and real about his films. There is a sense of time and place throughout the film. He’s the major star here, and he’s still got it at age 91.  At times, he does appear a little frail, but I’m going to chalk that up to the character he’s playing having broken his back.  His comedic timing, line deliveries and charisma are still on full-display.  He’s a minimalist actor, as mentioned earlier, which I’ve always appreciated.

Now, let’s focus on some of the issues.  Dwight Yoakam has acted before in films, but he reads his lines here in such a bland and flat manner.  Also, some of the lesser-known actors here are a little green when it comes to their acting chops.  In some cases, it lends itself perfectly to the film.  In other cases, it can be a little cringy and hard to watch.  When you have a seasoned pro like Eastwood, you are hoping to see him act alongside some really good actors.  It’s always good for up-and-comers to get an opportunity in a major motion picture, but even at age 91, Eastwood is miles ahead of them.  In some scenes, it was difficult to watch their inexperience, and in other scenes, it’s charming and exactly what the scene needs. Overall, this is not one of Eastwood’s greatest films, but it’s watchable, sweet and entertaining. It is good enough.

* * * out of * * * *

Blu-Ray Info: “Cry Macho” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It has a running time of 104 minutes and is rated PG-13 for language and thematic elements. It also comes with a digital copy of the film.

Video/Audio Info: The film is presented in 1080p High Definition.  For the audio, it comes in the following formats: DTS-HD MA: English 5.1, Dolby Digital: English Descriptive Audio, French, and Spanish. Subtitles are included in English, French, and Spanish.

Special Features:

Back in the Saddle: The Making of Cry Macho and the Mustangs

Should You Buy It?

As with anything on HBO Max, I always enjoy a second viewing on Blu-ray.  I find I’m the type of viewer who likes to watch certain films multiple times to really grasp the vision of the director.  With “Cry Macho,” once again, I enjoyed it more on a second viewing.  It’s heartfelt, touching, and reflective on the part of Clint Eastwood.  He gives a great speech about being “macho” and what it really means. It feels like Eastwood has evolved as a human being, and he’s commenting on some of his past work. As far as the film itself, it was an enjoyable viewing experience.  It is nothing which is going to blow you away as a viewer or stay with you after it’s over.  The Blu-ray is pretty bare bones in terms of having only one special feature. I can’t recommend it as a purchase right away at its current price.  If you can get it in a few months for $10 or less and you are a big Eastwood fan, I’d pick it up then.  There is no need to rush out to buy it right away.

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

Coronavirus Quarantine Viewing: In the Line of Fire

Posted on by The Ultimate Rabbit

In this time of quarantine due to the global pandemic known as Coronavirus (COVID-19), I have not stayed in my apartment all day long as I have no choice but to work. Still, getting my ass out of bed continues to be a struggle, and while I keep saying I have no time to watch any new releases, I do find myself watching whatever is playing on one of the various Starz cable channels. And I have to be honest, there is always a certain movie which captures my attention regardless if I already have the movie on DVD or Blu-ray.

One movie which has been playing on Starz a lot recently is “In the Line of Fire,” the 1993 political action thriller which was directed by Wolfgang Petersen and stars Clint Eastwood as the grizzled and cantankerous veteran Secret Service Agent Frank Horrigan.

I worked at a movie theater in my hometown, Crow Canyon Cinemas, which played it, and during my lunch breaks I would go and watch it to take in the excellent direction, brilliant acting and terrific action sequences.  It also provided me with one of my most frustrating moments while I worked there. While working a shift, an audience member came up to me and said the lights were still up inside the theater. I rushed in to see what was going on, and the lights were indeed still on as the movie opened up on Washington, D.C. and Ennio Morricone’s began playing. Another audience member yelled out, “ARE YOU GOING TO TURN THE LIGHTS OFF?!” This caused others in the audience to laugh, and I walked out of there inescapably pissed. Hey, if I was operating the film projector, I would have made certain the lights were turned off when the movie began. Please do not automatically assume it’s my fault! Do you even know who I am?! Do you know what us concession workers, ushers and box office personal are forced to deal with on a regular basis?!

Anyway, Frank Horrigan is a veteran Secret Service Agent who is busy breaking in a rookie named Al D’Andrea (Dylan McDermott) whom, as you will see, has a really bad first day at work. Upon arriving back at his apartment, Frank receives a call from a man who calls himself Booth, short for John Wilkes Booth, the man who assassinated President Abraham Lincoln. Booth is later revealed to be Mitch Leary (John Malkovich), a disillusioned and deeply obsessed CIA assassin who is determined to assassinate the current President of the United States. From there on out, Frank becomes determined to stop Mitch from ever reaching his murderous goal.

Of course, Mitch has a special reason for telling Frank about his plan as he is the sole active agent remaining from the detail guarding President John F. Kennedy back in 1963 when he was assassinated. Mitch prods Frank into thinking he could have done more to keep Kennedy alive, and we see in Frank’s eyes why this is still a gaping wound which has aversely affected his life for far too long

What really fascinated me about “In the Line of Fire” was the relationship between Frank and Mitch as it worked on different levels. At first, it felt like Mitch was viciously deriding Frank for his failure in Dallas on that fateful day, but perhaps Mitch was taunting Frank in an effort to see if there was any government worker who was still worth believing in. Either that, or perhaps Mitch was eager for some competition as he had long since become such a skilled assassin to where this particular job was easier for him than it should have been. The screenplay by Jeff Maguire is not clear on the answer to this, but this is part of this movie’s charm.

“In the Line of Fire” was the first movie Eastwood had acted in following his Oscar winning triumph, “Unforgiven.” When I saw “Unforgiven,” it forever changed the way I looked at Eastwood as I figured he was just coasting on the success of “Dirty Harry” for far too many years to where he could easily phone in a performance before we realized it But when it came to “Unforgiven,” this movie made me realize he was a consummate artist both in front of and behind the camera. Watching him in “In the Line of Fire” made me see this all the more as, behind that famous glint of his, he succeeds in giving a wonderfully complex performance as Frank Horrigan. From start to finish, Eastwood makes Frank into a difficult, thoughtful, charming, guilt-ridden and stubborn human being, and it is a real shame he didn’t get an Oscar nomination for his performance.

The key scene for Eastwood comes when Frank reminisces about the day of Kennedy’s assassination with Agent Lilly Raines (the always terrific Rene Russo), and he paints a very vivid picture for the audience to where no flashbacks are needed to illustrate what he is talking about. It was also one of the few times back then where we got see Eastwood cry, and an image like this seemed unthinkable for so long. Still, watching this iconic star lose it over an American tragedy which has long since been burned into our collective memory is a beautiful moment. Some are forever trapped in a time and place they can never escape from, and the assassination of J.F.K. is one which still holds many in its grasp.

One actor who did score an Oscar nomination for their performance was John Malkovich. With his character of Mitch Leary, Malkovich created one of the most malevolent psychopaths the world of cinema has ever seen. But as demented as Malkovich makes Mitch (the scene where he puts Eastwood’s gun in his mouth was his idea), he also allows us to see this character has some form of empathy. When Mitch talks about how he doesn’t remember who he was before the CIA “sunk their claws” into him speaks volumes as he has long since become a former shell of his former self to where he has nothing left to live for except revenge. When it comes to Malkovich, you can always count on him to take any character he plays and mold him into something undeniably unique.

I also have to single out Rene Russo who is an absolute joy to watch here as Special Agent Lilly Raines. She made her film debut in “Major League,” but she really caught my eye after co-starring in “Lethal Weapon 3” as Lorna Cole, an internal affairs detective who beat up the bad guys every bit as effectively as Martin Riggs did. When we first saw her in “In the Line of the Fire,” we knew her character was not an agent to be easily messed with as she could kick ass with the best. Still, Russo shows a wonderful vulnerability throughout as Lilly confesses to Frank how she broke off a relationship because she would not give up her job for anyone. Russo does not even have to spell out in words why Lilly is hesitant to become involved with Frank as any potential relationship comes with a lot of baggage, and yet the chemistry between these two proves to be so strong to where we have one of the more hilarious love-making scenes in cinema history. As we see the various objects drop off them as they climb into bed, we can understand Frank’s frustration about having to put all of it back on.

“In the Line of Fire” was directed by Wolfgang Petersen, the same man who gave us the greatest submarine movie ever made, “Das Boot.” Petersen directs this movie in a way which makes it clear to us how character means more to him than spectacle. Whether or not the stunts are the best you have ever seen, they are exciting as hell because we are rooting for the characters from start to finish. As the story heads to a most thrilling climax, I could not take my eyes off the screen for a second.

This movie also has one of my favorite film scores ever by the great Ennio Morricone as he nails every single moment for all its emotional worth. Whether it’s the main theme which is filled with a hard-fought for patriotism, the romantic themes which illustrate the growing relationship between Frank and Lilly, or the themes which add to the taut action sequences, there is not a single false note to be found here.

It is nice to revisit “In the Line of Fire” after all these years, and it still holds up in this day and age. It is a top-notch thriller and the kind of character driven motion picture we do not see enough of these days. It also makes you respect the secret service in a way we always should have. They have to defend the President of the United States regardless of how they feel about him or her as a person. I mean, heaven forbid we have another President serve as a martyr for this great country the way John F. Kennedy did. I bring this up because this is especially the case when we are forced to deal with an infinitely unpopular President, and I will just leave it at that.

* * * * out of * * * *

Underseen Movie: Harry Brown in Which Michael Caine Gets His Own Version of Death Wish

Posted on by The Ultimate Rabbit

Back in 2010, I was trying to remember the last time I saw Sir Michael Caine play the lead in a motion picture. Looking back, I think it was “The Quiet American” in which he gave what he thought, and I agree with him, was one of his very best performances ever. Since then, he has been the supporting actor of choice in movies like “The Dark Knight” and “Inception.” The big joke around Hollywood was if you can’t get Morgan Freeman for your movie, get Caine. Those two guys are in just about every other movie being made. Still, we need a reminder every so often of how truly great an actor Caine is. There are a number of good reasons why his career has lasted several decades after having survived critical disasters like “Jaws: The Revenge.”

But in 2009, Caine did get indeed get the lead in a movie many still have not seen, “Harry Brown.” I saw it as a double feature at the New Beverly Cinema along with a classic movie Caine starred in called “Get Carter.” Both these films have him playing characters where violence plays or has played a big part in their lives. With “Get Carter,” he played a professional killer who was almost completely amoral, and yet you couldn’t help but like him. It’s almost tempting to look at “Harry Brown” as kind of a sequel to “Get Carter” as it makes you wonder what Jack Carter would have been like had he grown up long enough to become a senior citizen. Even if he managed to put his past behind him, it is always bound to catch up with him as only so many bad deeds go unpunished.

From its trailer, “Harry Brown” certainly does look like the British version of “Death Wish,” one of the most unforgettable movies about vigilante justice. But you could also look at it as being to Caine what “Gran Torino” was to Clint Eastwood. Each movie involves a character so uncomfortable with the changes going on around them, and they are resistant, as is everyone, to any kind of change. There’s even a good dose of Eastwood’s “Unforgiven” thrown in for good measure as you wonder how deeply Harry was shaped by his experiences as a military officer.

Either way you look at it, “Harry Brown” takes the overused concept of a regular person who loses someone close to them, forcing them to take matters into their own hands when the police fail to help, and turns it into a very effective thriller which is truly unrelenting in the intensity it generates. Seriously, this is a very bleak movie which puts you into the main character’s mindset and never lets you go. It also takes place in a an environment which is all too real to those who live in it, and the consequences hit you like a swift kick to the gut. You may look at Brown’s surroundings and say to yourself no one could pay me enough to live in this environment, but we are stuck there for 103 minutes, and there’s no easy way out.

Caine plays the title character, a widowed North Ireland military veteran who finds his training coming back to him as he comes to confront those who murdered his best friend, Leonard (David Bradley) in such a cold and callous way. Following this, it becomes clear to Harry his days of being indifferent to the horrible goings on now are at an end, and he threatens to become even more lethal than those gang members he stealthily pursues. In the process, his training as a soldier is reawakened, and he uses it to his advantage. The way Harry sees it, he and his men fought for something important, but these kids today are instead fighting for their own depressing amusement.

Caine continues to make screen acting look effortless for him, and even the moments where he doesn’t speak a single word speaks volumes of what is going through his mind. We feel Harry’s pain over becoming so lonely without a soul to rely on, and we experience his state of mind completely thanks to Caine’s incredible performance. We have seen this kind of character a lot in movies, but Caine imbues Harry with a wounded humanity which keeps him for becoming completely cold blooded. Even as he descends into violent acts of raw vengeance, we can’t help but sympathize with Harry as we come to wonder what we would do if we unlucky enough to be in this situation. We never catch Caine playing on the clichés other actors would likely fall into, and it makes you wonder if there is another actor who could have played this role as well as him.

“Harry Brown” marks the feature length directorial debut of Daniel Barber whose only other project was the Oscar nominated short film “The Tonto Woman.” Filming at a council estate in South London, he creates an unrelentingly bleak atmosphere which feels even darker than anything David Fincher came up with in “Alien 3” or “Seven.” Just taking in the atmosphere which surrounds Harry and his fellow neighbors drains the soul pretty quick. Instead of prettying anything up, Barber captures the hopelessness of a people stuck in a crime ridden area so far out of their control, and of the frustration which drives the main character into action.

It is clear from the start that this will not be your average Hollywood vigilante flick, and the violence featured here is very brutal. The movie’s opening sequence features a very realistically staged gang initiation sequence where a new recruit is made to do drugs and then gets beaten up to within an inch of his life. This is later followed up by a highly unnerving scene where two gang members are riding along on a motorbike while filming their escapades, and one of them ends up shooting a young mother while she is pushing her baby in a stroller. From that point on, you never feel safe while watching this movie. You feel the gunshots when they go off here, and it all becomes a race to see how much longer Harry can stay alive.

Barber also proves to be masterful in setting up highly suspenseful scenes which are brimming over with excruciating tension. The best example of this comes when Harry meets with two young men to buy a gun, and both are clearly high on their own supply to where they are hopelessly paranoid. You feel like things could explode at any second, and I have to give a lot of credit to the two actors, Sean Harris and Joseph Gilgun, here as they make their drugged-up characters all the more frightening than they already were in the screenplay. Seriously, the scene between them and Caine is one of the most unnerving I have seen in a long time, and I will never be able to shake it.

There is also a very nice supporting performance here from the lovely Emily Mortimer who previously stole my heart in “Lars and the Real Girl” opposite Ryan Gosling. She plays Detective Inspector Alice Frampton who is at times empathetic to the suffering around her, and at other times very serious about the work she does. It’s not your typical tough as nails cop on display here, and I found this to be quite interesting. Frampton almost looks out of her league, but she quickly shows us how she keeps an open mind and considers every possibility without singling out anything based on preconceptions or stereotypes. Of course, being the smartest cop in the movie, no one listens to or takes her seriously enough. Then again, if they had, the running length of this film would be equivalent to that of “The Tonto Woman.”

“Harry Brown” is truly one of the bleakest movies I have ever seen, and while the trailers make you think we are traveling into familiar “Death Wish” territory, this is not the case in the slightest. All these years later, I still can’t get it out of my head as it affected me more than I anticipated. I was expecting a solid B-movie at most, but there was much more to the story than what I saw at first glance. It marks a very impressive debut for Barber, and it allows Caine to give us yet another great character and unforgettable performance to a resume which is overflowing with them.

* * * ½ out of * * * *

‘Gran Torino’ is a Movie Only Clint Eastwood Could Pull Off

Posted on by The Ultimate Rabbit

Gran Torino movie poster

At its core, “Gran Torino” is a familiar story as it deals with a man in contact with people he does not fully understand but comes to respect and even love by the movie’s end. But it brings out the brilliance of Clint Eastwood the director as his handling of the material makes it anything but familiar. Many of his best movies have a very down to earth feeling which brings you closer to the story and the characters involved in it, and he doesn’t rely on casting picture-perfect actors who would unintentionally suck away all the reality inherent in the screenplay. Eastwood gives us a close-knit Hmong family that is anything but average, and he gets deep into their culture and the traditions they keep. It’s a great family that breaks through whatever stereotypes we have of them, and seeing him hang around them gives the movie some of its best moments.

Eastwood portrays Walt Kowalski, a recently widowed Korean War veteran who is as cantankerous a man as they come. He is alienated from his family who are becoming increasingly eager to put him into a retirement home, and his granddaughter is keen for him to donate his prized 1972 Ford Gran Torino to her when he dies. His neighborhood of Highland Park in Detroit, Michigan used to be filled with working class white families, but now it is dominated poor Asian families and gangs whose violence seems never ending. Like many, Walt is resistant to change, but change is inevitable and something he cannot possibly stop.

The Hmong Vang Lor family lives next door to Walt, and neither are keen to know one another. This is especially the case after the teenage Thao Vang Lor (Bee Vang) attempts to steal Walt’s Gran Torino after being pressured by the local gang to do so. Upon failing to steal it, the gang beats up on Thao until Walt confronts them with his rifle, and they run off. From there, Walt earns the family’s respect and is determined to thank him endlessly for what he has done.

The fact the Vang Lor family lets Walt hang out with them is astonishing when you take into account the vile crap which comes out of his mouth. As an actor, Eastwood never tries to hide from the ugly racist Walt is, and the name calling he does makes it seem insane that any family member would keep him around for five minutes. Watching “Gran Torino,” I tried to think of another actor other than Eastwood who could play such a politically incorrect character and still make you sympathize with and follow him wherever he goes. Eastwood gives Walt Kowalski a toughness and a vulnerability which is not so easy to pull off. To say this is a part which Eastwood could just walk through would be an insult to what he accomplishes here.

In the youth obsessed place that is Hollywood, it’s nice to see an actor of Eastwood’s age show us how it is really done. A part like his in “Gran Torino” cannot be played by some Clearasil clean face actor that adorns many of the shows on the CW network, but by one whose face and body is etched with the marks of a life lived long and hard. One of my favorite scenes has Clint driving up to a trio of African-American men who are messing with Sue (Ahney Her), Thao’s older sister, and her white boyfriend. Eastwood comes in and breaks up the party, going out of his way to insult everyone around him. He calls Sue’s boyfriend a pussy and busts his chops for trying to pretend he’s black (this got one of the biggest laughs in the theater the night I saw it in). He then delivers a line which would have sounded ridiculous coming out of any other actor’s mouth:

“Ever notice how you come across somebody once in a while you shouldn’t have messed with? That’s me.”

Watching this, I felt more than convinced only Eastwood could sell a line like that. I like to believe I could, but a lot of people who know me seem to have a huge misunderstanding of the kind of guy I am.

The more I think of Eastwood’s role in “Gran Torino,” the more multi-dimensional it is, and he nails every part of it perfectly. We see the pain in his face of memories from long past which still haunt him, of the despair he experiences when members of the Vang Lor suffer the worst kind of abuse, and we can clearly see the regret in his face that he was not closer to his children throughout their lives. Even though Walt can seem like a hateful person, Eastwood gives him a strong humanity which comes across from start to finish.

By casting unknown actors as the members of the Vang Lor family, Eastwood the director gives this movie an even stronger authenticity to where you feel like you have known these people forever. One of my favorite performances in the movie was by Ahney Her who plays Sue Lor. She is a real kick to watch throughout as she comes through Walt’s casual insults unphased and even convincingly manages to get him to attend the family barbecue. It takes her a bit, but she manages to draw him in when she mentions there is beer. Her gives us a jaded teenager with a good sense of humor who is no pushover. She’s the kind of girl we knew from high school regardless of race, and Her steals every scene she is in.

As dark as “Gran Torino” seems, the movie has a quirky sense of humor which makes it all the more enjoyable. Another great moment is when Walt teaches Thao how to talk like a man to get what he wants. The scene in the local barbershop of Walt getting Thao to do this is a hilarious moment in how he gets the teenager to talk, and he playfully messes with Thao’s head to get him to realize a few things. This leads to one of the movie’s most gut busting moments when Walt helps Thao get a construction job and lets Thao do all the talking. I almost passed out because I was laughing so hard.

The last half turns bleak as the Vang Lor family deals with devastating events which threaten not only them, but Walt as well. It almost seems like the movie will have a “Death Wish” kind of ending, but Eastwood is much too smart to let things become unforgivably manipulative or sentimental. You may think you know where things are heading, and while you may be right, the terrific screenplay by Dave Johannson and Nick Schenk keeps you on the edge of your seat and has you guessing what will happen all the way to the end. It’s very clear “Gran Torino” is a redemption piece, but the way Walt achieves his redemption is both unexpected and shocking.

“Gran Torino” is the kind of movie which I think really brings out the best in Eastwood as an actor and a director. I am convinced that if this script landed in the hands of another director, it would have ended up being your average anti-racism parable with loads of clichéd characters and predictable situations. But with Eastwood in the director’s chair, he gives the movie a genuine humanity, and he lets the characters propel the plot of the movie. He also gives what we see a strong sense of reality which draws you into the story right away, and a freshness which almost makes you forget you have seen this kind of movie before. I really enjoyed “Gran Torino” a lot more than I thought I would. I figured it would be a decent movie at best, but Eastwood continues to challenge himself and his audience with each project he does. I also have to say that I’m really glad I didn’t have to sit through another ending like the one he gave us in “Million Dollar Baby.” I don’t think I could handle such an ending again.

* * * ½ out of * * * *

 

‘The Mule’ Movie and Blu-ray Review (Written by Tony Farinella)

Posted on by The Ultimate Rabbit

THEMULE_1000739013_BD_OSLV_3D_FINAL_DOM_SKEW_6373b5a3

The fact that Clint Eastwood is still directing films at his age is nothing short of amazing.  When he is acting and directing them, it is even more impressive.  “The Mule” marks the first time he has directed and acted at the same time since 2008’s “Gran Torino,” so it’s been a while. He does not disappoint as the usual Eastwood touches are here.  He is a simple yet powerful filmmaker and actor.  He is not going to do a lot with the camera, but he trusts his actors, the writer, and he gives everyone them the space they need to tell the story.  It is what he has always done as a director.  He’s not a flashy filmmaker and he doesn’t need to be since he knows what works.

Eastwood stars as Earl Stone, a 90-year old horticulturist from Peoria, Illinois who is seeing the world changing rapidly thanks to the Internet. The film starts out in 2005 and he is winning awards at conventions and making friends left and right.  However, he has forgotten about his family in the process.  He is not on good terms with them and they feel neglected.  Early on in the film, they show him missing out on his daughter’s wedding.  His real-life daughter (Alison Eastwood) is in the film, which is a nice touch.

33554224368_c8af0d0511_z

With the internet growing, Earl has now fallen on hard times.  When he shows up to visit his granddaughter at a brunch for her upcoming wedding, he notices his family has not forgiven him for putting work over family. He wants to make it up to them by pitching in for Ginny’s (Taissa Farmiga) upcoming wedding.  Someone approaches him at the brunch and informs him that all he has to do is drive and he can make a lot of money.  Driving is something he is very good at as he has driven in forty-one states and has never been pulled over or ever had a ticket.

Little does Earl know he will be driving for the cartel and carrying around some cocaine. Since he is such a good driver, and 90-years old, it seems like the perfect way for him to make some easy money and get back in the good graces of his family. At first, he only takes on one job and believes it will be enough to hold him over.  Before long, he is their top driver and highly thought of by the cartel.   However, two DEA agents played by Bradley Cooper and Michael Peña are trying to take down the cartel, and Earl may go down with them as well.

32488382547_95c3b15836_z

There is nothing here which is incredibly moving, profound, or earth shattering. The jokes about cell phone usage are a little overdone.  It is still very entertaining, however, and a very easy movie to watch. The film also features stellar performances from Laurence Fishburne, Dianne Wiest as Earl’s ex-wife, Richard Herd, Andy Garcia, and Clifton Collins Jr. Eastwood is the one leading the charge here, and he always plays it with his usual Eastwood calm, cool, and collected persona even when things get a little hairy.  He makes a decision and he sticks with it.

At 116 minutes, “The Mule” breezes by with humor, suspense, and tension.  At this rate, we don’t know how many more times Eastwood will be in front of the camera, and he is a Hollywood icon, so it’s always a treat.  I don’t see any upcoming films for him as a director/actor, and he is someone who should be cherished.  He still has it and will never lose it. I hope he lives forever and keeps making movies.  This is the kind of movie where you sit back, relax, and enjoy the ride Eastwood and company take you on for almost two hours.  It’s not great, but it’s still quite good.

* * * out of * * * *

______________________________________________________________________________

Blu-Ray Info: “The Mule” is released on a two-disc Blu-Ray, DVD, and Digital Combo Pack from Warner Brothers Home Entertainment.  It has a running time of 116 minutes and is rated R for language throughout and brief sexuality/nudity.

Audio Info: The audio is presented in DTS-HD Master Audio: English 5.1, English Descriptive Audio 5.1, Dolby Digital: French 5.1 (Dubbed in Quebec), and Spanish 5.1. Subtitles are included in English, Spanish, and French.

Video Info:  The film comes to you in 1080p High Definition 16×9 2.4:1.

Special Features:

The Making of The Mule: Nobody Runs Forever (10:59): Clint Eastwood talks about how it was different from other projects he had done in the past.  It was inspired by true events as well. The screenwriter of “Gran Torino” wrote this film, which makes total sense.  Eastwood gives great details about how he approached the character. Many of the main cast members chime in with their thoughts on the film and working with Eastwood.  They also go into detail on how Eastwood was big on getting all of the little things right in this movie.

Toby Keith “Don’t Let the Old Man In” Music Video (02:54)

An Especially Frigid 18 Mile Pablove Run

Posted on by The Ultimate Rabbit

Griffith Park welcome sign

After recovering both physically and, to a certain extent, emotionally last Saturday with the 12-mile run, we Pablove Foundation runners were now tasked with running a full 18 miles inside and outside of Griffith Park in Burbank. This run took place on the one-year anniversary of a historical event. That’s right, the Women’s March of 2017, a worldwide protest done to advocate legislation and policies regarding human rights. This march was celebrated with another today which brought out thousands of people to Downtown Los Angeles alone, and hopefully this same number of people will show up to the polls this year to make much needed changes in government.

Oh yeah, Donald Trump has now been inhabiting the White House for a full year, and that’s even though it feels like he has been there for much longer. To celebrate, he and the Republican controlled congress and senate shut down the government. Trump is certainly running the United States like he does his businesses, straight into the ground.

Anyway, this morning at Griffith Park proved to be super chilly to where my teeth were chattering like never before. Seriously, I started to feel like I was back in Denver, Colorado during an infinitely frigid Thanksgiving weekend, and the temperature there dropped far below zero. I couldn’t wait to start running as a result. As thankful as I was for the temperature being lower, let alone the fact winter-like weather actually making itself known in Southern California, this felt like an especially frigid Saturday morning designed to fuck with us more than usual.

EXC FORREST LAWN MEMORIAL PARK IN CALIFORNIA. HERE WE SEE A NEWLY DUG GRAV

This run had us running on Forest Lawn Drive, a very treacherous stretch of road which forces us to run in single file at times due to a blind curve which is just daring us to run past it. I again have to point out how Forest Lawn Drive goes right past the cemetery and mortuary of the same name. If this doesn’t put the fear of God into you, what will?

The 15 17 To Paris movie poster

If you are reading this, then you know I wasn’t hit by a car and my body is not in a terribly mangled state, and I made the turn onto Olive and ran past Warner Brothers Studios where posters of Clint Eastwood’s next movie as a director, “The 15:17 to Paris” were plastered on the buildings for all to see. And this being awards season, there were posters for “Dunkirk” and “Wonder Woman” on display as well to remind Oscar voters of how many critics called them the best movies of 2017. Here’s hoping both motion pictures garner a plethora of nominations.

At four and a half miles, we were to make a turnaround at the intersection of Verdugo and Sparks and go back the same way we came. Coach Kerry, who was driving along the route to make sure we were going in the correct direction, informed me the turnaround point was right across from the McDonald’s on Olive, but, of course, I ran right past it to where this run threatened to be much longer than it needed to be. Well, this had largely to do with me finding a safe and legal way to cross the street without getting hit by a car eager to run a red light. Running straight from the McDonald’s to the other side also had me running the risk of making a mandatory donation to the Burbank Police Department, and they already hate it when we run on the asphalt instead of the concrete sidewalks.

Pablove 18 mile volunteers

I would like to take the time to acknowledge two wonderful volunteers, Jasmine Kostraba and Dennis Herzig, fellow Pablove runners who took the time to make sure we had all the energy gels, bananas, electrolyte pills and orange slices we needed to cross the finish line. The both of them asked me why I ran past the turnaround point, and I responded, “You can’t say I’m not putting extra effort into this run!”

I have to say; those orange slices are quite heavenly on a run like this. I bite into one, and all of a sudden, I am reenergized to an astonishing extent. Give me that or a banana, and it’s almost like Popeye eating his spinach.

When it came to running back on Forest Lawn, I ran on the side which went with traffic instead of it against it as we are constantly advised to do. Coach Kerry, who drove up to me at one point, asked me why I was running on the other street, and I explained it was because advancing on the other had me fearing for my life as a particular blind corner made me feel like a moving target for someone eager to cling to the corner in order to stay at optimum speed.

Upon arriving back at Griffith Park, we ran from there to Los Feliz Boulevard where we ran uphill to another turnaround point. As much as I complain about the hills in Griffith Park, the one on Los Feliz is even harder to go up. I didn’t even make it to the turnaround sign when Dennis saw me and was quick to come up to me and say, “This hill is impossible, huh?” Yes, it is.

From there, I went down Los Feliz and back the same way I came. Dennis remarked at how I didn’t look tired at all, and this was quite the compliment. However, I found my energy dissipating rather quickly, and I started to cough a lot which didn’t help matters. I finally came to a stop as the voice inside my head kept telling me it was time to call it a day. This voice is one I constantly fight against as I am determined to complete each and every Pablove run, but this time I found myself surrendering to the inescapable fatigue consuming me.

Eventually, Coach Kerry drove by to see if I needed any water, food or energy gels to complete the run. But upon seeing my rather sullen state, he asked if I instead wanted to stop and take a ride back with him to the starting point, and I said yes. I apologized to him for not finishing, but he told me it’s okay, saying sometimes it’s best not to push it. What marathon training constantly reminds of is to listen to my body and what it is telling me. As defeated as I felt for not finishing all 18 miles (I completed 15 to 16 in the end), I think my decision to cut this run short was the right move.

Whether or not I get my maintenance runs done during the week, I do need to more cardio exercises. Being a marathon veteran, it’s far too easy to get confident about my training. Regardless of how many marathons I have completed, I still need to keep up exercising during the week as I can see what happens when I don’t get my maintenance runs done.

Coach Kerry also asked if I might consider doing the half-marathon instead. With the LA Marathon, participants do have the option of doing this as opposed to running the full thing. This option is now very tempting as I constantly finish these training runs behind everyone else. Kerry told me to think it over and assured me I have done terrific work this training season. I would still like to do the full, but I really have to give the half some consideration. Speaking of which, if I do the half, do I still get a medal?

Moons Over My Hammy

My legs were incredibly sore, but I managed to my haul my tired body over to Denny’s for the Moons Over My Hammy sandwich. Despite the high number of calories, I think I earned this meal. The rest of the day had me resting as my body ached all over. Once again, staying in bed can feel irresistible even when you have work to do.

My goal before next week’s recovery run, which should be 10 or 12 miles, is to get my maintenance runs done, and to do more cardio exercises throughout the week. We are still a few weeks away from the big day, but I cannot and will not leave anything to chance.

FUNDRAISING UPDATE: We still have a way to go to reach our fundraising goal of $1,500 for The Pablove Foundation. To date, I have raised $639. There’s still plenty of time to make a tax-deductible donation, but sooner you make one, the better.

CLICK HERE TO DONATE ON MY PABLOVE PAGE.

CLICK HERE TO DONATE ON MY FACEBOOK PAGE.

Edgar Wright and Quentin Tarantino Look Back at ‘Dirty Harry’

Posted on by The Ultimate Rabbit

Dirty Harry poster

Of all the movies Edgar Wright selected for The Wright Stuff II Film Festival at New Beverly Cinema, “Dirty Harry” is the one he has watched the most. Wright screened a nice print of the 1971 classic along with another movie called “The Super Cops,” and joining him to talk about it was filmmaker Quentin Tarantino.

They started off riffing on trivia about how the original title for “Dirty Harry” was “Dead Right,” and how it was first going to star Frank Sinatra who later pulled out when the 44-magnum ended up injuring his wrist. It also turned out the late Irvin Kershner, who directed “The Empire Strikes Back,” was the first choice to direct the movie (Don Siegel eventually took the job). Tarantino and Wright also talked about how actor Albert Popwell played a different black stereotype in each “Dirty Harry” film except for “The Dead Pool,” and they both wished he played the mayor in that one.

For Wright, what he loved about “Dirty Harry” was the grittiness of its main character and the atmosphere of San Francisco. On the DVD for “Hot Fuzz,” Wright did a location tour where the film was made, and he even checked out the deli where Eastwood was filmed eating a hot dog when the bank robbery took place. As for the film’s score by Lalo Schifrin, he declared it his all-time favorite saying it marked the birth of “acid jazz.”

But much of the treasure trove of information came from Tarantino who said he first saw “Dirty Harry” when he was five or six years old, and he described it as a “political lightning rod” upon its release. Apparently, it got a lot of crap thrown at it by liberal critics who didn’t want a police fascist solution as well as from right wingers who got freaked out by Scorpio and the ills of society.

The way Tarantino viewed it, however, “Dirty Harry” does have a solid agenda. When Andy Robinson played Charles “Scorpio” Davis, there had never been a villain like him before in movies and, the term serial killer had not really been coined yet. The agenda was for there to be new laws for new crimes, and “Dirty Harry” was screaming for those new laws. Scorpio was not your average villain, and that he got such a kick out of his crimes was easy to see. There was no cure in store for such a psychotic character like this one.

Both Tarantino and Wright agreed “Dirty Harry” really holds up after 40 years. Much of this is due to its sequels treating the iconic character more as a superhero than a regular human being.  With “Magnum Force,” Tarantino felt it was made more for critics of the first movie than its audience as it preached against its predecessor and the character itself by having Harry go after those taking the law into their own hands. This was the same deal with the other sequels, but “Sudden Impact” is the lone exception. Wright remarked at how, along with John Carpenter’s “Halloween,” “Dirty Harry” has one of cinema’s most perfect endings which was eventually ruined by sequels.

They also talked about Siegel who had already been around for a long time before he directed “Dirty Harry.” Siegel was a B-movie genre director from the 1950’s and a Hollywood craftsman who eventually became an auteur. For the most part, Harry Callahan represented the quintessential character of his films; the cop who takes the law into his own hands. Even after directing the 1971 classic, Siegel would continue to have a long and healthy career in films, eventually reuniting with Eastwood on “Escape from Alcatraz.”

Tarantino also described “Dirty Harry” as the single most ripped off and imitated action movie of the 1970’s. He even gave a list of every single movie which stole from it: “McQ,” “Newman’s Law,” “Nightstick,” and everything from Cannon Films. The similar thing about the ripoffs was they lost all the political subtext which made “Dirty Harry” such a strong film. It became all about going after some big drug dealer or crime syndicate, and there was nothing political about that. When it came to 1970’s movies, the only others which were stolen from as much were the ones starring Bruce Lee.

“Dirty Harry” apparently also boasts the first homosexual date in cinema history as seen through Scorpio’s scope rifle. Tarantino said it was the first instance of unforced male sexuality in movies, and he still remembers the audience laughing at this scene when he first saw it. Back then he thought the audience wanted this couple killed, pointing out how they were not as enlightened as we are today, and that they were culpable for their “sinister intentions.”

Hearing these two great filmmakers talk about this Don Siegel/Clint Eastwood classic made for one of the most interesting evenings I have ever spent at New Beverly Cinema. A new generation of audiences will look at “Dirty Harry” differently and may see it as tame compared to plethora of serial killer movies we see today. With the popularity of “The Silence of the Lambs” and the “Saw” movies among others, serial killers have long been the norm in American cinema, so the accomplishments of the 1971 classic threaten to seem diluted as a result.

Thanks to Edgar Wright and Quentin Tarantino, we are reminded of “Dirty Harry’s” place in cinematic history and how it opened doors not just for Eastwood, who made the transition from westerns to other films, but for so many other movies as well for better and for worse.

John Carpenter Looks Back at ‘Escape From New York’ and ‘Escape From LA’

Posted on by The Ultimate Rabbit

John Carpenter Escape From New York photo

“Escape Artist: A Tribute to John Carpenter” continued with the exploits of Snake Plissken in the double feature of “Escape From New York” and “Escape from LA” at the Aero Theater in Santa Monica. These films featured some of the collaborations between Carpenter and Kurt Russell who first worked together on “Elvis.” They quickly became great friends and went on to work together on several other films including these two and “Big Trouble in Little China.”

The emcee warned us that the print of “Escape From New York” was pretty faded as it was an original print and the only one American Cinematheque could get their hands on. This was being generous as it looked like it had been slaughtered by countless film projectors, and the color was faded to where everything looked pink. It is astonishing it didn’t break apart in the projector. Still, the fans still enjoyed watching the film, one which they have seen hundreds of times before. They laughed when “1997 NOW” came up and when Lee Van Cleef speaks into this enormous cell phone no one would have today, let alone in 1997.

After “Escape From New York” ended, Carpenter came to the stage and was greeted with another thunderous standing ovation. Carpenter quickly acknowledged the crowd by saying, “Thank you for coming out to see the movie tonight, but I got to tell you this is the worst fucking print. My fucking God! There’s no color in it!” The audience laughed loudly as they were in complete agreement.

Escape from New York poster

The discussion started off with a question about the genesis of the project. Carpenter talked about writing the script back in the early 1970’s when there was a great sense of cynicism in America about our President and in response to the hostage crisis in Iran. He also admitted he was inspired by two of his favorite movies back then, “Dirty Harry” and “Death Wish.” Those two movies involved men driven to the brink emotionally and who took it upon themselves to wreak vengeance on those who wronged them. Like those characters, Snake Plissken gets the job done, and this brought a lot of satisfaction to audiences as nobody in the real world seemed to be accomplishing anything.

Carpenter said he initially wanted Clint Eastwood to play Snake Plissken. For one reason or another, it did not work out. He also said he had shopped this screenplay around to several studios which rejected it outright, but fortunately he had a multiple picture deal with Avco Embassy which had produced “The Fog.” Ironically, they wanted Charles Bronson for the title role. Somehow, everything came together when Russell got cast as Snake Plissken, and he portrayed the character as an asexual human being who cares about nothing more than staying alive. In the process, he created one of the most memorable anti-heroes ever seen in a movie.

Carpenter also talked about Lee Van Cleef, a favorite actor of his from Sergio Leone westerns, who played Police Commissioner Bob Hauk. Lee had seriously injured his knee during the filming of another movie and had never gotten it fixed, and as a result he was in constant pain while making “Escape from New York.”

With a budget of only $5 million dollars, “Escape From New York” needed to be filmed as quickly as possible. Carpenter said the rule of low budget filmmaking was to shoot as little film as possible and to make it as long as you can. In fact, there is actually only one real shot of New York in the entire movie which features the Statue of Liberty, and it pans from there and dissolves into a set in Los Angeles. A lot of what you see of New York in the movie are actually models and matte paintings done by artists from Roger Corman’s New World Pictures, among them James Cameron. Much of the movie was filmed in downtown St. Louis which had had a huge fire that destroyed several city blocks. The city let Carpenter and his crew film there in triple digit temperatures, and they even shut the power down for them when they filmed at night.

Escape from LA movie poster

When it came to making “Escape from LA,” Carpenter had a budget of around $50 million to work with. But while he and Russell had more time and money, Carpenter said he had the hardest time writing the screenplay for it because he felt that everything he was writing was “bullshit.” What got him to revisit Snake Plissken was that Russell was so keen on playing the character again, and they solved their script problem by moving the action to Los Angeles which was in a constant state of denial with all the earthquakes and natural disasters occurring there. They simply took the same scenario of the original movie and updated it to reflect the current state of the city while filming.

“Escape From New York” may have had only one real New York shot in the entire movie, but all of “Escape from LA” was filmed in Los Angeles. The sequel was shot over a period of one hundred and three nights, and Carpenter said he found filming at night to be very “soul draining” as it changes the way you see things and the darkness infects you in a very unhealthy way.

One audience member brought up how at one point it looked like Carpenter and Russell might do a third movie called, “Escape from Earth.” This never panned out because “Escape from LA” unfortunately bombed at the box office. There was also supposed to be a video game based on the movies, but the company involved with it ended up going back to the past by resurrecting Pac-Man. There was even talk of a television series which would act as a prequel to the movies and even an anime movie chronicling the further adventures of Snake Plissken, but neither of those projects became a reality. Despite the box office failure of “Escape from LA,” there are still many people out there who are intent on continuing the exploits of their favorite antihero.

These days, Carpenter said he is content to sit at home and watch the NBA Finals or play video games. He told the audience he had just finished playing “Ninja Gaiden 2” and would be moving on to “Metal Gear Solid 4” next. It doesn’t seem like he is in a big hurry to make another movie, but this could change if the studios pay him a lot of money. Carpenter feels the movie business keeps changing on him, and he does not appear to be as enthusiastic about making films as he once was.

Carpenter closed out the evening by saying he had to go meet with his drug dealer. Before he left, the moderator gave him a gift saying Carpenter had given so much to us that he wanted to give something back. This something was the “Escape from New York” board game which is, apparently, the most complicated board game ever.

After the discussion ended, he did take some time outside the theater to sign autographs and pose for pictures with fans who still see him as a big inspiration. If you look at movies of recent years, you will see Carpenter’s influence over many of them both in their visuals and the music. To this day, he remains one of the important directors of the sci-fi and horror genre, and his cult following remains as strong as ever.

As the evening wore on, many came back inside to watch “Escape from LA.” The print was in much better condition, but this didn’t stop it from breaking down during the movie’s last seconds. For those who know how this sequel ends, it only seemed comically appropriate as Snake shut down… Well, you know.