Duel

It is amazing how much suspense you can build with almost no dialogue or sets, just a car and a very menacing truck. This is the film that turned Steven Speilberg from a tv director into a wanted filmmaker. Dennis Weaver stars as a mild-mannered traveling salesman. Driving along a small, California two-lane highway he decides to pass a large truck. No big deal. Happens a million times a day, right? This time the trucker does not appreciate the action. The trucker decides to chase down Weaver. The ultimate in road rage!

Spielberg's storytelling mastery shows. In a stroke of genius we never see the truck driver. It is just a beat-up truck chasing down poor Dennis Weaver. Spielberg later uses this same technique, to great effect, with the shark in Jaws. Of course, with Jaws, the shark didn't work correctly, but why quibble? In Duel Spielberg tells the story with a minimum of effects, dialogue or explanation. Just a rogue truck chasing down our unsuspecting lead. Suspense builds until a satisfying final scene.


Duel was written by Richard Matheson. He is now best known as the author of 'I Am Legend'. He also wrote one of the scariest things I remember from my youth. 'The Trilogy of Terror'. Pick that one up too if you can find it!

Simple, straightforward and powerfully suspenseful. I find Duel to be quite satisfying as well!

Filmed for TV in 1971, directed by Steven Spielberg, written by Richard Matheson, starring Dennis Weaver, Eddie Firestone, and a very menacing truck.

Sorcerer/Wages of Fear

This is a special day. Everyone gets two great movies for the price of one! Wages of Fear and Sorcerer. They are both the story of 4 men, on the run from their past, trying to escape their current desperation. They each decide to take a high-paying, life-threatening job driving nitroglycerin across an unnamed South American country. An oil company is paying huge bonuses to anyone who can get the nitro through to put out an oil well fire. Of course, nitroglycerin is very dangerous and will explode when bumped, jostled or warmed. Who will survive the trip and what perils will they face along the way?

Both of these movies are intense! The pressure builds as our drivers face numerous obstacles on the road to fortune and personal salvation. Jungles, mountains, rivers, guerrillas, each other and their own demons must be vanquished if they are to survive.

Wages of Fear was directed by Henri-Georges Clouzot. Filmed in 3 languages so the best prints are subtitled. Stay away from the dubbed version. Clouzot's film is raw, gritty and superb. Yves Montand is fabulous as Mario. We don't know how he got into his personal hell, but he wants out. Clouzot allows the suspense to build until you almost want to scream. At one point I even covered my eyes and looked between my fingers. It's safer that way.

Sorcerer is William Friedkin's remake. He was fresh off 'The French Connection' and 'The Exorcist' so the studios gave him anything he wanted. It shows. Roy Scheider does a nice job reprising the Yves Montand role. Friedkin goes a little overboard in the first half, but the remainder of the film is just as intense as Wages of Fear. The shot of the trucks driving over rope bridges in a pouring rain is worth the price of admission. The Tangerine Dream soundtrack is quite wild.


Intensity builds to a big finish in both films. Similar in their story, each is a unique experience. Wages of Fear is more respected by critics, but both films deserve a viewing.

Wages of Fear was filmed in 1952, directed by Henri-Georges Clouzot, written by Clouzot and Jerome Geronimi, starring Yves Montand, Charles Vanel, Folco Lulli and Peter Van Eyck. It is about half sub-titled and half in English.

Sorcerer was filmed in 1977, directed by William Friedkin, written by Walon Green, starring Roy Scheider, Bruno Cremer, Francisco Rabal and Amidou. Both are based on the novel by Georges Arnaud.

Notes: Before Wages of Fear could be released in the U.S. government censors order some key scenes removed. They felt it was "anti-American". Wages of Fear was the first film to win the Golden Palm at Cannes and the Golden Bear in Berlin. In Sorcerer, the part of Donnelly the head of the gang that robs the church is played by Gerard Murphy. Murphy was an ex-convict who had committed a similar robbery just block from where the scene was shot. The magnificent sequence of the trucks on the bridge cost millions of dollars and took three months to complete.

The Taking of Pelham One Two Three

This post refers to the 1974 original not the Travolta & Denzel remake. The remake is worth seeing, but very different in tone.


I was filled with trepidation when I first learned of the remake of this film. The original was released when I was 13 and is one of my favorite films of the 70s. Because it is near my heart I was quite worried that the original classic would be tainted. But that is not possible. This movie is one of the treasures of the era. It is a caper flick extraordinaire. When Walter Matthau asks "how you going to get away with this" I still wonder. Even though I have seen the film half a dozen times. The idea of hijacking a subway car is preposterous on its face. The Peter Stone screenplay of the John Godey novel makes it all come together.

Everyman actor Walter Matthau plays Lt. Zeke Garber, the transit cop in charge of protecting the hostages on hijacked subway car Pelham 123. Robert Shaw portrays Mr. Blue. He is the mercenary who has hijacked the subway car. He is aided by three associates named Mr. Green, Mr. Brown and Mr. Grey. Because we know nothing about the hijackers, not even their names, they seem more menacing. Mr. Green (Martin Balsam) is a former subway employee with a grudge who has figured out a way to "get away with it". The film splits its focus between the subway car and the police/city efforts to deal with these criminals.

I love caper movies. How will the criminals steal the loot, trick the police and escape capture are concepts that keep my attention. Also, the efforts of law enforcement or the victims to bring them to justice is an intriguing story line. The Taking of Pelham One Two Three combines both parts of the caper movie with equal aplomb. The criminals, and their master plan, are believable and compelling. The transit cops, city police and city officials are also realistic and interesting. I spend the viewing time following the details and personalities as they face each new intense moment.


Walter Matthau is terrific. He plays the "regular guy" with skill. His characters are available to the audience. I feel like I know the guy he portrays (see my earlier blog about 'Charley Varrick'). He carries this film. With very little actual action for 3/4ths of this film, the dialogue and acting must capture the viewer and hold them. The entire cast does a fine job. Especially Matthau, Robert Shaw and Martin Balsam. All three of them make me want to see what happens next.

The David Shire score helps keep the tempo of the film. It is raw and gritty and makes me feel like I am on the train. The opening of the film has simple images, but the score makes you feel like the action is already happening! The soundtrack has been difficult to find for years. When you can find it, the soundtrack is usually expensive. NPR film music expert Andy Trudeau considers this film's score to be one his top 10 ever.

Interesting and exciting. Enjoy The Taking of Pelham One Two Three.

Filmed in 1974, directed by Joseph Sargent, written by Peter Stone, starring Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo and Jerry Stiller. For tv fans, look for a quick cameo by Doris Roberts as the Mayor's wife.

Notes:Since the release of this movie no #6 subway has left the Pelham Bay station at either 1:23 or 13:23. Just a little superstitious I guess. Also, the producer says that this film did very well at the box office in New York, London, Paris and Toronto, but was a flop in most other cities. Those four cities have large subway systems. And the color of the hat that each criminal wears matches their name.

Marathon Man

Taut thriller that combines the everyman on the run storyline with excellent performances. Dustin Hoffman plays a graduate student living in New York City. He believes that his brother, portrayed by Roy Scheider, is an international businessman. Of course it wouldn't be much of a film if that was true. Instead Scheider is a spy working for "the division". When his brother is killed Hoffman pursues those responsible. Leading the bad guys is Laurence Olivier. Olivier plays an aging Nazi that is collecting the diamonds he stole from Jews during World War Two.

The fabulous thing about Marathon Man is the chemistry of the cast. Hoffman and Scheider "feel" like brothers who have a history. Marthe Keller, a Swiss actress known best in Europe, plays the love interest to Hoffman. Their relationship grows in an authentic way. William Devane is Scheider's boss/co-spy. Devane has made some terrific films and is spot-on here. But the film's central story line revolves around Hoffman and Olivier. In the later part of his career Olivier gave up the over-acting and became a complete performer (my earlier blog 'A Little Romance'). He plays the cool and calm Nazi to perfection. You distrust and dislike him from the moment he appears. He and Hoffman make a terrific protagonist/antagonist couple. I find myself rooting for Hoffman just to see Olivier lose. Great job! Olivier was nominated for the Best Supporting Actor Oscar for this film.


This movie is also a great collection of talent. Besides the outstanding cast, it was written by William Goldman. He adapted the screenplay from his best-selling book. The film builds and has a deliberate pace in the beginning. But the tension, and my interest, grow as the story continues. Goldman has written many great scripts including 'Princess Bride', 'All the President's Men', 'The Hot Rock' and, one of my favorite movies, 'Butch Cassidy & The Sundance Kid'. He has a deft touch with language that I so appreciate. Marathon Man was directed by John Schlesinger. He won an Oscar for 'Midnight Cowboy'. He deserves kudos for allowing the script and actors to carry the film. There is only a small amount of special effects. The violence is limited, but is very terrifying. For anyone who has seen it, the sound of Olivier's drill can not be forgotten. It still brings a chill to me.

A terrific cast, intelligent script and crisp directing combine to make a thoroughly enjoyable film. It is a top-notch thriller.

Filmed in 1976, directed by John Schlesinger, written by William Goldman, starring Dustin Hoffman, Laurence Olivier, Roy Scheider, Marthe Keller and William Devane.

Notes: The torture scene in Marathon Man was shortened after many members of the preview audiences became ill. Also, the line "Is it safe?" is listed at number 70 on AFI's list of great movie quotes.

Network

"I'm mad as hell and I'm not going to take it anymore!" For everyone who has seen Network that line comes quickly to mind. Peter Finch's portrayal of mad prophet Howard Beale was amazing. His representation of a television news anchor gone over the edge earned him an Academy Award. The range of emotion from angst to anger to disillusionment was fantastic. He was awarded the Best Actor Award posthumously.

But, for me, the most amazing thing happens when you view it today. When it came out (1976) Network struck a chord with Americans. We were in the middle of an oil crisis, still reeling from Watergate and Nixon, and Vietnam was fresh on our minds. And the film gave voice to those insecurities and angers. But now, almost 35 years later, the portrayal of television is the most poignant part of Paddy Chayefsky's script. In the film, anchorman Howard Beale uses the news broadcast to opine upon his opinions and personal feelings. He reminds me of current anchors like Keith Olberman or Bill O'Reilly. They seem more interested in convincing the viewer that they are right than in providing accurate information. That wasn't true when this movie was released. But Chayefsky was sure that ratings and personality would take over and they have. Instead of Walter Cronkite we have Katie Couric. The likes of FOX, MSNBC and others use their "bully pulpit" to ferment a fever that keeps the viewers coming back.


From an entertainment viewpoint this film is outstanding. Network won 4 Oscars including Best Actor, Actress and Supporting Actress. This was only the second time that one film won 3 of the 4 acting Oscars, joining 'A Streetcar Named Desire'. Screenwriter Paddy Chayefsky also won for Best Screenplay. It was his third Oscar. While the acting is top-notch it is the script that carries this film to its great heights. The points that Chayefsky makes about the power of media and the lack of accountability within television are more important today than ever. His "prediction" of a network that appeals to a different audience looks eerie in retrospect with the later success of Fox.

This film tells the story of a failing television network. William Holden is the head of the money-losing news division. Robert Duvall comes in to take over the network and make it profitable. He hires Faye Dunaway. She decides to "program" the news and make it more exciting and entertaining. This leads to anchorman Peter Finch becoming the superstar of the UBS network. Ratings go ever higher as the network sinks lower into the muck. Stay through to the end. When ratings begin to slip Duvall and Dunaway hatch the most amazing event in television history to inspire ratings!





Network is powerful. Strong directing, a great script and terrific performances make this an important and entertaining film. Netflix it today!

Filmed in 1976, directed by Sydney Lumet, written by Paddy Chayefsky (see my earlier blog about 'The Americanization of Emily'), starring Peter Finch, William Holden, Faye Dunaway, Robert Duvall, Beatrice Straight and Ned Beatty.

Bubba Ho-tep

Today's review is quite simple. Please read the plot in the next paragraph. If the plot sounds funny and/or intriguing you will probably enjoy this film. However, if the plot sounds too stupid and/or ridiculous you probably won't enjoy this movie.


Plot: Elvis did not die. He is a resident of a retirement community in East Texas. JFK did not die. He also is a resident of the same community. A 3,000 year old zombie has come back to life and is sucking the souls out of some of the other residents of this senior living facility. The mummy has chosen to feed here because "he didn't think anyone would notice" if the residents disappeared. Elvis and JFK team-up to battle the cowboy-zombie-mummy to save the seniors from having their souls sucked out their own asses. The film rises to a crescendo near the end as these titans of history battle to protect the senior citizens' lives.

Obviously, this is meant to be a comedy/horror/cheesy flick. Bruce Campbell portrays the aging Elvis to perfection. He is both sincere and over-the-top simultaneously. Campbell has quite a cult following. He is terrific here. The "old" Elvis, complete with sequins and karate kick, is a part that many actors would shun. But Campbell pulls it off with heart and schlock in evidence. Ossie Davis plays President John F. Kennedy. As many of you know, Ossie Davis is black. You have to watch the film just to hear him explain how JFK was not assassinated and why he is now black. Hilarious!


Bubba Ho-tep was written and directed by Don Coscarelli. He is best known for the 'Phantasm' series of horror films and for the original 'Beastmaster' movie. This film is a difficult task. It must be campy and over-the-top, but should avoid being "too much" of either of those. He does a fine job. The pacing of the film is a little slow, but since the stars are senior citizens battling a 3,000 year old mummy slow applies. The film is full of quick jokes. They range from the cerebral to the outhouse. I am sure there is something to offend anyone. The sound effect when the mummy sucks the soul out of someone's ass still makes me cringe. You have been warned.

Filmed in 2002, directed and written by Don Coscarelli, starring Bruce Campbell, Ossie Davis and a cowboy boot wearing mummy.

Anatomy of a Murder

This is one of the most realistic courtroom dramas on film. No crazy speeches, no lawyers gone wild, no "you're out of order!", just serious drama based on an actual murder case. Anatomy of a Murder follows the true case of an army officer that kills a bar owner in Northern Michigan. He hires a down-on-his-luck attorney, played by Jimmy Stewart, to defend him. Since the killer was seen by many witnesses, his guilt is never in doubt. But how will the trial play out? Can Stewart work some legal magic and get an acquittal or will the State's Attorney, played by George C. Scott, obtain justice?

The film is based on a Robert Traver novel. Traver is the pen name of John D. Voelker. Voelker was a Michigan Supreme Court Justice who worked on the case. This personal involvement leads to a gritty realism in the film. Adding to the realism, the judge in the film was played by Joseph Welch. Welch was the lawyer who represented the U.S. Army in the Army/McCarthy hearings during the fifties. Having such established legal officials involved definitely adds to this film. Director Otto Preminger chose to film on location in Northern Michigan and used many locals as extras and to fill small speaking parts for further realism.


The film has a fine Duke Ellington score. He wrote and performed the music and makes a cameo appearance playing alongside Stewart. The jazz further contributes to the depth of story and character achieved by Preminger and the fine cast. Stewart as the defense lawyer, Ben Gazzara as the defendant, George C. Scott as the State's attorney, Arthur O'Connell as Stewart's partner and Lee Remick as Gazzara's wife are all excellent. Stewart, Scott and O'Connell each received an acting academy award nomination for this film. Anatomy of a Murder was also nominated for Best Picture in 1960, losing out to 'Ben Hur'.

Outstanding courtroom drama without the usual cinema histrionics. Accurate and believable, Anatomy of a Murder is a "must-see" for movie fans.

Filmed in 1959, directed by Otto Preminger, written by Wendell Mayes, starring Jimmy Stewart, Arthur O'Connell, Ben Gazzara, Lee Remick and George C. Scott.