Only now does it occur to me... THREE DAYS OF THE CONDOR (1975)

Only now does it occur to me... that in his paranoid cloak n' dagger thriller THREE DAYS OF THE CONDOR, Sydney Pollack inserts a small homage to Italian master of horror Dario Argento.

In a scene where Robert Redford's character is skulking around in black leather gloves, gaining entrance to a New York City apartment building,

Pollack has one of the names on the buzzer (while the trademark black leather gloves are in shot) listed as "Argento."

 

 

 

 

 

 

 

While Pollack may have drawn some inspiration from our man Dario, I will also add that THREE DAYS OF THE CONDOR exerted some discernible influence on another Junta Juleil fave: John Carpenter. In addition to featuring three actors who would go on to work for Carpy––Cliff Robertson (ESCAPE FROM L.A.), John Houseman (THE FOG), and Robert Phalen (HALLOWEEN, STARMAN)––the film's central dynamic, between bookish, on-the-run CIA analyst Robert Redford and his cool, formidable hostage Faye Dunaway,

 

 

 

 

 

 

 

 

 

 

 

strongly resembles the tense back and forth between hapless hostage-taker Roddy Piper and his icy-calm ward Meg Foster ("If I don't see what you see, I'm going to see it anyway") from a quite similar scenario in THEY LIVE.

Coming up next: an in-depth review of an Argento flick I haven't yet tackled on this site!

Only now does it occur to me... DEATH WATCH (1980)

Only now does it occur to me... that I would ever see Harvey Keitel trying to strangle Harry Dean Stanton while Max von Sydow tries to stop the violence.





The circumstances of this assault involve a sleazy television producer (Stanton) and his "camera-man" with cameras installed in his eyeballs via science-fictional contrivance (Keitel). Keitel has been tasked with filming the voyeuristic drama of woman's (Romy Schneider) excruciating death in a world where illness has otherwise almost been eradicated. Max von Sydow is the dying woman's husband.

The film––made in 1980 and directed by Bertrand Tavernier––is melancholy as hell and beautifully photographed by Pierre-William Glenn (DAY FOR NIGHT, COUP DE TORCHON). It's based on a spectacular novel called THE CONTINUOUS KATHERINE MORTENHOE (1973) by D.G. Compton which is said (and rightfully so) to have predicted the trajectory of reality television. I  recommend both works––especially the film, which feels very proto-Atom Egoyan in its assessment of an alienating mediascape.

Only now does it occur to me... BRASS TARGET (1978)

Only now does it occur to me... that when it comes to speculative historical revisionism, you can hardly get nuttier than the gloriously banal BRASS TARGET (based on the novel, THE ALGONQUIN PROJECT). It's a movie that boldly asks––what if?––General George S. Patton (George Kennedy)

was not, in fact, killed after a car crash, but was murdered by a hitman (Max von Sydow)


who made it look like an accident and was working on behalf of corrupt Allied military officers––including THE PRISONER's Patrick McGoohan,

PATRICK MCGOOHAN WILL NOT SAVE YOU A SEAT

THE MAN FROM U.N.C.L.E.'s Robert Vaughn,

Weirdo post-coital Robert Vaughn

and OVERBOARD's Edward Herrmann,

Flustered post-coital Edward Herrmann

the latter two of whom are playing a couple!––who have stolen $250 million in Nazi gold. And what if some noble hero (John Cassavetes) almost stopped it... and then sought revenge on Patton's behalf?

John Cassavetes is here to chew bubblegum and look creepy, and he's all out of bubblegum

John Cassavetes: even when he's trying to be wholesome, he can't not be creepy

Also playing out in the background is a romantic subplot between Cassavetes and Sophia Loren, which, given the prioritization of the XY chromosomes on display, has received zero creative energy and flops like a dead fish. 

Loren, despite her top billing, couldn't be more of an afterthought. She and Cassavetes may have the least amount of chemistry out of any Hollywood coupling I've ever seen, and I've seen STAR WARS––EPISODE II: ATTACK OF THE CLONES. Robert Vaughn has more chemistry with the viewer and all he does is stare at us like a walleyed lunatic.

I mean, really, though.

Nothing can spark their interest––not even the thought of the eventual paycheck; not even the idea that when the shooting stops they never need to see each other again

The whole thing sort of plays like a movie directed by a sentient stack of WWII paperback novels and testosterone-doused hand grenade-paperweights whose favorite part of any war film is the part when a bunch of generals stand around a nondescript industrial space and talk about maps. If BRASS TARGET were a person, it'd be a guy whose favorite Peckinpah film is THE OSTERMAN WEEKEND. His favorite Alec Guinness movie is THE QUILLER MEMORANDUM. His favorite Clint Eastwood is THE EIGER SANCTION. His second-favorite is FIREFOX. I could go on.

Film Review: DREAMSCAPE (1984, Joseph Ruben)

Stars: 4 of 5.

Running Time: 99 minutes.

Notable Cast or Crew: Dennis Quaid (ENEMY MINE, INNERSPACE), Kate Capshaw (INDIANA JONES AND THE TEMPLE OF DOOM, SPACECAMP), Max von Sydow (THE SEVENTH SEAL, MINORITY REPORT), Christopher Plummer (THE SOUND OF MUSIC, A BEAUTIFUL MIND), George Wendt (CHEERS, HOUSE), David Patrick Kelly (COMMANDO, THE CROW, TWIN PEAKS, THE WARRIORS), Peter Jason (THEY LIVE, PRINCE OF DARKNESS), Chris Mulkey (TWIN PEAKS, QUIET COOL), Eddie Albert (ROMAN HOLIDAY, THE HEARTBREAK KID). Music by Maurice Jarre (LAWRENCE OF ARABIA, THE CELEBRITY GUIDE TO WINE). Casting by Johanna Ray (TWIN PEAKS, MULHOLLAND DR., KILL BILL, SHOWGIRLS, COOL AS ICE, BLUE VELVET). Special makeup effects by Craig Reardon (THE GOONIES, DICK TRACY, POLTERGEIST). Special effects by John Eggett (NIGHT OF THE COMET, THE PIRATE MOVIE), Jim Doyle (A NIGHTMARE ON ELM STREET, BREAKIN' 2: ELECTRIC BOOGALOO), and Jim Aupperle (THE THING, ROBOCOP 2, BEETLEJUICE). Directed by Joseph Ruben (THE STEPFATHER, SLEEPING WITH THE ENEMY). Written by Ruben, David Loughery (PASSENGER 57, STAR TREK V: THE FINAL FRONTIER), and Chuck Russell (NIGHTMARE ON ELM STREET III: DREAM WARRIORS, THE BLOB '88).

Tag-line: "Alex Gardner has an extraordinary gift. The government wants it...The scientists want it... To keep it may cost him his life..."

Memorable Quote: "So, Jane, what you do here, in effect, is count boners."

In a familiar, darkened alley:

"It's been a while!"
–"Sure has. Whaddya got for me?"
"A riddle. What do you get when you combine David Lynch's casting director, the writer of NIGHTMARE ON ELM STREET III, the makeup effects dude from DICK TRACY, and a villain who's a combination of Freddy Krueger and Revok from SCANNERS?"
–"If the VHS art you're clasping is any indication... an INDIANA JONES rip-off?"
"Yeah, I don't know why they did that. It's not really like INDIANA JONES at all, unless you consider Kate Capshaw's presence and a stop-motion snake monster to be the full Indy experience.

'Snakes with hands... why'd it have to be snakes with hands?'

Frankly, it's a paranoid science-fictional political thriller that's lot more like SCANNERS, THE FURY, or FIRESTARTER. You could even call it a proto-INCEPTION. Dennis Quaid plays a psychic on the run from the government. He's using his abilities to win big at the racetrack when he's hunted down by special agents Peter Jason

and Chris Mulkey."

–"Wow, that's some genuine '80s street cred right there! I'd watch that MIAMI VICE rip-off."
"You ain't seen nothin' yet. Quaid is then delivered unto Max von Sydow and Kate Capshaw, who are running a sleep research center. They believe that Dennis Quaid can use his psychic abilities to enter other people's dreams and heal their neuroses.

You will note this is not Willie Scott

They believe this because they already have a psychic who can enter dreams. And while you're busy in the shower, he's in your bedroom, wailing on your saxophone."
–"Uh... what?"

"And his name is...

D...

P...

...motherfuckin' K!  DPK! That's right, David Patrick Kelly!"
–"From TWIN PEAKS? From 'Warriors, come out and play-yee-yay?' You're the only person on Earth who calls him that."
"That's definitely not true."
–"But I do appreciate that levitating saxophone squeal. Looks like this movie's '80s trash element just went into overdrive."
"Ohhh yes. So Dennis Quaid agrees to work with the dream researchers after he gets over the spartan decor

'Who's your decorator, Darth Vader?'

and enjoys some serious dive bar pitchers with Max von Sydow."


–"Why doesn't Max von Sydow ever invite me out for beers? And what bar is that?"
"Supposedly it was called the Village Pub, was in Santa Monica, and has been closed down for a while. But I couldn't find a whole lot of information about it. Annnyway, with DPK comes the next phase of the film and the main plot: evil CIA spymaster Christopher Plummer hijacks the project in order to manipulate and assassinate the U.S. president... in his dreams... using DPK as a dream assassin!"

–"That's quite something. You're right, this kinda sounds like a higher-stakes version of INCEPTION. But didn't you say something earlier about... snake monsters?"
"I sure as shit did! This dream world's way more like Freddy Krueger's. Anything––and everything––can happen. You want snake monsters? We got that.

DR. CALIGARI by-way-of evil '80s funhouse?


DPK with.... Freddy Krueger fingers?

Rippin' out hearts like he's in INDIANA JONES AND THE TEMPLE OF DOOM?

Well, guess there's one more thing to connect it to INDIANA JONES.

Droppin' one-liners like he's James Bond?"

'Have a heart,' he says. [tosses heart]

–"This looks completely insane."
"I haven't even gotten to George Wendt yet."
–"What?! Norm?"
"He plays a Stephen King-style horror writer who has a host of conspiracy theories about the whole dream-assassin operation... and it turns out he's right. Naturally, we first meet him at Max von Sydow's favorite glorious dive."

–"Is George Wendt legally allowed to not be at a bar?"
"Hard to say. Also, did I mention that DPK has dreamworld laser nunchucks with morningstar handles?"



–"Okay, okay, goddamit! You got me! I'm sold."
"I knew that'd take you over the edge."
–"Why have I never seen this before? Why has the universe conspired to keep this film from me?"
"It's a cruel world, my friend, and rarely does it make sense. But I think it's going to be okay. You have a copy of DREAMSCAPE now."

Film Review: EXORCIST II: THE HERETIC (1977, John Boorman)

Stars: 2.8 of 5.
Running Time: 118 minutes.
Notable Cast or Crew: Linda Blair (ROLLER BOOGIE, THE EXORCIST), Richard Burton (THE KLANSMAN, THE SPY WHO CAME IN FROM THE COLD), Louise Fletcher (BRAINSTORM, ONE FLEW OVER THE CUCKOO'S NEST), Max von Sydow (THE ICE PIRATES, THE SEVENTH SEAL), Ned Beatty (STROKER ACE, DELIVERANCE), James Earl Jones (SOUL MAN, STAR WARS), Paul Henreid (OPERATION CROSSBOW, CASABLANCA), Kitty Winn (KOJAK, THE PANIC IN NEEDLE PARK). Music by Ennio Morricone (RED SONJA; THE GOOD, THE BAD, AND THE UGLY). Tap Dance Routine choreographed by Daniel Joseph Giaghi (PENNIES FROM HEAVEN).
Tag-line: "It's four years later...what does she remember?"
Best one-liner: "If he can teach me how he has survived Pazuzu... I'll come back and let you know."

Where to begin? The acting talent is astonishing- of the seven principal players, six have been nominated for (or have won) Oscars. The seventh, Kitty Winn, had won Best Actress at Cannes. The director, John Boorman, had a history of accomplished, edgy work from POINT BLANK to HELL IN THE PACIFIC to DELIVERANCE. So where did we go wrong? Well, two things in particular:

#1. EXORCIST II is playing a high-stakes poker game with the audience. And it's betting the farm on a little lady named Linda Blair, which you'll soon realize was something of a mistake. What everyone thought was a genius, new acting talent from the first EXORCIST was mostly just the voice of Mercedes McCambridge and the astonishing special effects. In the meantime, Blair had unfortunately become something of a King Midas in reverse… but, hey, she still does a mean tap-dance. More on that in a minute.

#2. Looks like John Boorman kept Richard Burton sober. Another big mistake. He plays nearly every scene with an infantile, bewildered grimace- the subtext is "Goddamn you for taking away my gin stash!" He's pronouncing "evil" with three syllables- "Eee-vee-ill." This man is tortured.

"When the wings have brushed you...is there no hope once the WINGS HAVE BRUSHED YOU!!!" Hand this man a flask, for the love of God!

"Where'd you put my stash, John? I won't be cross with you if you give it back, straightaway. I don't even want it all- just a fifth of the best gin. How's about a Gin Rickey, John? Just one Rickey. Then we'll get back to the film. Just a quick snifter, John. John?"


"Oh, I'll buy it back, John! I'll give you all the gold 'n silver in all the world, John! I'll do the picture gratis, John! Whaddya say? Just a quick Pimm's cup! It's all I need, John- just a little Pimm's to keep me going."


"You want some shite acting for your shite film, John?! By all the saints, I'll give it to, you bloody bastard! All's I wanted was some Pimm's, you divvy git! Why, now I'll take this Pazuzu fellow and cock up your picture!"

Anyway, there's some shit with amnesia and synchronized hypnosis,


and, wait- if Linda Blair can see into the future, then why doesn't she use that knowledge to prevent ROLLER BOOGIE from happening?

Then there's this tantalizing bit from the credits: "Tap Dance Routine choreographed by Daniel Joseph Giaghi." If you're anything like me, such an absurd statement will excite and intrigue. 'What can we put in Part 2 that we didn't have in Part 1?' Clearly the answer is a tap-dance routine. And not just a tap-dance routine– a psychedelic tap-dance collective seizure attack:

Dit-dat duh duh

Clickety-clackety-clickety-clack

EEEEEYEEOOOOOWWWW

YUHH-UHHHH-UHHH

Truly, it's the little things that keep ya going.

So, EXORCIST 1 had the head-spin, the vomit, and the inappropriate use of a crucifix. EXORCIST 2 has the tap-dance seizure, the locust POV shot,

and the rock crevice plummet. But there's some good stuff going on, too. Ennio Morricone's score is in turns funny, primal, epic, thumpin', and, on at least one occasion lends unexpected weight to a scene involving a locust attack. Boorman makes some bold stylistic and editing decisions, a few of which (trippy hallucinations

and a jarring self-immolation sequence) work quite well. On the whole, it kinda feels like a weird, arty horror retread of those terrible old Republic serials. It never quite bores and never quite entertains. Almost three stars- why not?.

-Sean Gill