On Exploitation...

In my earlier post about Jodrowsky's 'El Topo', I should've pointed out that my specific beef with it was Jodrowsky's use of gratuitous sex and violence in his movie. The sex and violence in it is meant to be a thrill, a 'turn-on', not an element of the story that's integral to its development. Put it this way, as a rule of thumb, when the titties, car-chases, and exploding heads aren't on screen, and the movie goes dead, you're watching an exploitation thriller.

Sort of like in traditional porn movies, where the story exists merely as a premise for all the fuckin'. As David Mamet tells us in 'Bambi vs. Godzilla', we really don't care why the pizza man happens to catch the bored girl in the shower, or the pool boy happens to be cleaning the pool out just as the rich housewife's bikini top falls off, it's all just a pretext for the fornication. So too with most action thrillers.Not that I'm getting all moral on you, mind. I enjoy my share of 'titties, car chases, and head explody' as much as the next vicarious thrill-seeker. I just don't want it sold to me as a pop-mystic experience...

...Or as a history lesson, like in Mel Gibson's Apocalypto. (C-) We know we're in for a ride when the first scene is of a tapir getting graphically impaled by a Mayan punji trap. There's torture, decapitations, brutal disemboweling, and we even get a shot of the most painless natural childbirth ever. (The actress gives birth standing up in a flooding well, and her entire reaction is along the lines of getting a splinter removed.) Oh, I forgot, there's a dick joke near the beginning, to get us on the side of the 'good' Mayans who live in the forest.

Anyhoo, the bad 'city' Mayans decimate their village, enslave the survivors, haul 'em all back to the main city, (during which we're subjected to a travelogue of Ancient Mayan Culture, though I'll be damned if I can figure out the reason-we see city dwellers collecting chalk, gathering fruits and refuse, buying slaves, and none of it has any point to it, except to perhaps demonstrate the wasteful decadence of the city Mayans...)

So, the hero is chosen to be sacrificed, an eclipse appears just as he's at the altar, so he's spared. And you guessed it, the previous victims' demise is filmed in gruesome detail. The leader, presumably Montezuma, is presented so you think he's going to affect the story, but no. He's just window dressing, like the elaborate extras who might be priests, or dancers, or whatever. It's Central American Cecil B. DeMille. The hero escapes, and leads the City Mayans who captured him back to his forest, where he dispatches them, John Rambo style. At the end, some conquistadors make an appearance, I assume so Mel can make the point about decadent cultures getting their comeuppance.

Overall, it's clumsy, a trait it shares with Zack Snyder's '300'. You get a sense that Gibson's trying to give us a thrill wrapped in a moral history lesson. In that regard, it's not much different than those 'Mondo Extreme' exploitation films of the early 70's. Sure, there's no condescending narrator, but it's got the same sanctimonious tone...

Hard Candy (B-) Speaking of which, there's a lot of self-righteousness in Hard Candy, and its success is based on playing with our sympathies. Is the under aged Hayley (Ellen Page) truly righteous in her transformation from victim to predator? Is the smoothly ingratiating photographer Jeff (Patrick Wilson) really deserving of her cruelty? Ultimately, the initial tension in the movie just dissipates two-thirds into the film. But what tension! The cat-and-mouse game the two undertake (up until neighbour Sandra Oh shows up and breaks the tension) make for such a genuine thriller.

This is referring back to what I said earlier about exploitation films. I believe that since Hard Candy kind of got lost (as independent films often do) in the summer film glut, It probably got dismissed by most people as another 'Saw/Hostel/Hills have Eyes' gore-fest. Er, the castration scene notwithstanding... My point is, in this movie, the thrill comes from the characters, (esp. Ellen Page in a knockout performance!) and how they interact with each other, and how what they leave unsaid is just as important as what they say. It's unfortunate how the script writes itself into a corner near the end, so the filmmakers have to tie it up with a standard movie device (I ain't gonna reveal...) but overall, it's really worth a look.

"Scrappy Underdog Cinema"

One of the mainstays of movies from the 80's was the 'scrappy underdogs triumph against all odds' type film. It was a degradation taken from as far back as Frank Capra's films about the 'little guy' who bucks the 'system' so's the 'average joe' could get a 'fair shake'. What kicked it into high gear, I imagine, was the movie, 'National Lampoon's Animal House', which single-handedly created a new sub genre of filmic comedy. This was inevitably a broad 'slobs vs. snobs' comedic scenario. Porky's, Porky's II, King Frat, Caddyshack, the list goes on and on. With a little drama, it's morphed into the 'plucky outsider triumphs against all odds to fulfill his ku-huh-ray-zee dream' type film. "The Astronaut Farmer", being the most recent example.

The problem is, in the real world, the activities the protagonists enact would land them in jail, at best. At worst, they'd be dead. Consider the light comedy trope of the ridiculous man seeking to win the heart of the beautiful woman. The outlandish stunts he would pull to gain her affection would label him an unbalanced stalker in the real world. And in the Mel Gibson weepie, "The River", where Mel portrays a struggling farmer trying to save his land from the local bank, wouldn't he be better off just selling the farm and moving to the city? I understand the underlying reason for all these films, to give us a sense of hope and triumph against what seems to be an unfair system. But I can't really enjoy a film, if at the end of the day, I find myself rooting for the 'system'...

Nonetheless, here's a couple of examples of "Scrappy Underdog Cinema" from a couple of as-yet-unproduced (hint, hint, Hollywood!) screenplays I've written. Enjoy!

From "Camp Kemoshaga Crazies II" The tag line: "It would be a summer camp no one would forget!"

The setup: Gruff-but-kindly former hippie 'Weed' Gallager is the long-time owner of the rustic-but-run-down Camp Kemoshaga. He has just been offered a buyout from the rich, snobby owners of the rival summer camp across the lake, Snobbingworth Estates. He is currently announcing the deal to the misfit camp counselors under his employ: Zack Brody, the self-proclaimed leader of the Kemoshaga Krayzees, with his can-do attitude and his hip, rebellious streak implied by his backwards-facing baseball cap and Ray-Ban sunglasses; Yoshi Tamura, Japanese foreign exchange student and computer whiz; Tyrone "Fruity" LaChance, homosexual African-American; Phillip "Piggy" Porksworth, fat kid; and Finster "Pipsqueak" Matherson, short guy from Brooklyn with a chip on his shoulder...

("Weed" has entered the head office, where the ragtag misfits are all ready gathered. Zack is reclining in Mr. Gallager's chair, sneaker-clad feet on his desk, smoking a Camel and reading a 'girlie' mag, for he is a 'rebel' who marches to the 'beat' of a somewhat different 'drum. Tyrone is hysterically trying to separate Finster from pounding on Yoshi, who has just comically misinterpreted an innocuous comment by Tyrone to tell Finster that Yoshi is engaging in sexual intercourse with Finster's mother. 'Piggy' is in the corner, obliviously stuffing his face with meats and cheeses.)

Weed: Well, boys... It's the end of an era here at Camp Kemoshaga... I've just signed the deal that hands the camp on which we stand over to those fellows at Snobbingworth Estates.

Zack jumps to his feet, outraged.

Zack: What? Mr. G, are you serious? After all this time, you're just gonna roll over?

Weed: Well, Zack...(chuckles sadly) They offered me two-and-a-half million dollars for it! I mean, really, this land we're on is only worth half a million, at best!

Tyrone lets go of the scruffs of Finster and Yoshi, at which point Finster bowls Yoshi over and one of Yoshi's shoes flies up into frame.

Tyrone: My goodness! I'll have to move back home and work with Father at the (gulps anxiously) furniture warehouse!! Oh, heavens! (Tyrone begins to 'fan' himself with his hands.)

Piggy: (grunting mournfully) Yuh-yuh mean no more barb-b-ques! (begins sobbing loudly, between bites of meat and dairy product)

Weed: (Making placating gestures) Boys, boys... It's okay, it's all right... With the money they gave me, I'll pay you off for the whole summer ahead! Me and Meadow can retire to Florida! Don't you see? It's all worked out for the best!

Zack: Don't worry, Mr. G! Our campaign of wacky hi jinks and youthful vandalism's against those highfalutin' rich snobs will surely make them realize the error of their ways! C'mon, gang! We've got to fill some water balloons with our urine to ruin that fancy summer bash they're no doubt having right now!

The underdog camp counselors rush en masse out the door, whooping and cheering.Weed throws up his hands and heads to the phone. He begins to dial...

Weed: Oh, what's the use? Hello, police?...

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Another excerpt here is from "Time Beats", the thrilling saga of an offbeat young professor's valiant struggle against the hidebound fuddy-duddys who wish to subvert his earth-shattering discovery...

The setup: Young renegade physics professor Dr. Jonathon Hathaway is meeting with the grant committee of his university. The grant committee meets in a dusty old office with high ceilings and sunlight streaming in ominously through the blinds. They are all old men in flannel suits. One is perhaps drinking tea. Appearing before them is the energetic young Doctor Hathaway, who's presenting his thesis on time travel. He is clad in a sport coat, chinos, and white tennis shoes, to offset the staid, conservative dress of the board members...

Grant committee member #1: Well, Dr. Hathaway...(chuckles indulgently) Seems you've got the physics department all a-flutter with this-this...(waves hand impatiently) 'theory' of yours...

Dr. Hathaway: Yes, sir... And I assure you, sir, that what I have is no mere theory! (Hathaway confidently begins to remove some papers from his battered old briefcase) Fellow professors, learned colleagues... I, Doctor Jonathon Hathaway, have discovered time travel!

There is some grumbling and grunts of disbelief amongst the grant members.

Grant Committee member #2: Dr. Hathaway...This is preposterous! You come to us with-with talks of 'time travel'...What scientific evidence do you have to support this-this premise? Hm?

Dr. Hathaway smiles indulgently.

Dr. Hathaway: Gentlemen, I believe, that with the proper funding, I can masturbate myself through the time/space contin-

The next shot shows Dr. Hathaway being thrown onto the street by security guards. He is in front of the building where the grant committee meets. He has his chinos down around his ankles and a glassy look in his eyes.

Dr. Hathaway: YOU SONS-OF-BITCHES!! YOU'LL BE SORRY YOU THREW ME OUT!! WHEN I GET THE NOBEL PRIZE NEXT YEAR, YOU'LL ALL BE-

He is interrupted by a melodious car horn. Hathaway looks around as he pulls up his chinos, to see a limousine parked nearby. A chauffeur opens the passenger door, beckoning. Hathaway is fastening his belt as he approaches, looking into the limo door cautiously.

Limo passenger: Hello, young man! Step into my, heh-heh, office!

Hathaway enters the limo to see an elderly man in a natty business suit pouring two tumblers of scotch. He has a beard and long, silver hair reaching to his shoulders, but combed neatly back. He smiles at Hathaway and offers him a tumbler.

Limo Passenger: Well, Dr. Hathaway! So we finally meet! I'm quite an admirer of your work!

Hathaway: (suspiciously taking the tumbler) Who are you?

Limo Passenger: (chuckling) Let's just say we have a lot in common, you and I! I'm a bit of a dreamer, bit of an, oh, eccentric, you might say... Unlike yourself, the fates, as you see, have been quite kind to me!

Hathaway: I-I'm sorry, but-what?

Limo Passenger: Let me guess, Hathaway! Those old coots at the university won't fund your 'time travel' experiment, will they?

Hathaway: (disheartened) Er-no. No, they won't. They all laughed at me and threw me out!

The old man chuckles, finishes his scotch, and claps Hathaway's knee.

Limo Passenger: Well, what would you say to some, er, 'outside' financial assistance to your noble endeavor?

Hathaway: (excited) What? Really? Oh, sir, thank you! You don't know what this-

Limo Passenger: Yeah, yeah, yeah. I'll give you five bucks for a hand job, kiddo.

Cut to Hathaway looking bewildered.

"The Night the Japs Attacked"

1941 (D) It's taken for granted that this movie is a flop. And yeah, it is a bad movie. But it's not bad in the way, say, anything by Uwe Boll is bad, or even bad in an Ed Wood Jr. kinda way. It's bad in that Stephen Spielburg is such an impersonal director, a movie with so many quirks in its script like this needed to be helmed by someone like Sam Fuller or John Milnus. That is, someone who's passion for storytelling is such that they could subvert the original intent of the screenplay. Hell, even Martin Scorsece or Brian DePalma could've done something with it. It feels like Robert Zemekis and Bob Gale, the screenwriters had an unfinished idea, took it to Fox, and Fox, flush with success from Star Wars and such, handed them a blank check. I believe it came out at a time when a lot of people were making their flop classics. Scorsece with One From The Heart, and Michael Cimino with Heaven's Gate, for example.

Spielburg just doesn't have in in him to make comedies. He's capable of throwing in zingers to underline his story, but that really isn't the same. I imagine there were, as late comedian Bill Hicks put it, a lot of 'fevered egos' on the set, like John Belushi, who wanted to make their own film independent of Spielburg's, but the overall effect is a big mess. Slim Pickens' character, for example, disappears from the film after he foils the Japanese sub crew's attempt to get a toy compass out of him. (Literally, that is.) And the final scene of Ned Beatty's family house
falling off the cliff seems more like a sadistic trick than a gag intended to deflate a pompous jackass.

It's worth watching for some good bits, mainly around Dan Ackroyd and his crew. I love the throw-away gag at the beginning where they're eating dinner in a cafe and just decide to wreck their meal 'for the consideration of future patrons of this awful diner'. But overall, it's just 90 minutes of Spielburg setting fire to hundred dollar bills and laughing like a b-movie Nazi...

Oh, That Sturgis...

Sullivan's Travels - (B+) I can't believe I haven't seen any of Preston Sturgis' movies before now. I've really been missing out. I've known about the plot of Sullivan's Travels for some time now, and the premise (man of privilege goes amongst the poor to better understand their suffering) seemed really pedestrian to me. However, upon viewing it, I've had the pleasure of discovering Sturgis' dialogue is really top rate. Consider this monologue from Sullivan's butler:

Burrows: 'You see, sir, rich people and theorists - who are usually rich people - think of poverty in the negative, as the lack of riches - as disease might be called the lack of health. But it isn't, sir. Poverty is not the lack of anything, but a positive plague, virulent in itself, contagious as cholera, with filth, criminality, vice and despair as only a few of its symptoms. It is to be stayed away from, even for purposes of study. It is to be shunned. '

Methinks there's a hint of G.B. Shaw in Sturgis' script...

And in watching the movie, I realized that the premise is not, "Director of light comedies goes amongst the poor to better understand their suffering, and then translates their suffering into great ART." but rather, "Member of the privileged class spends two-thirds of the film attempting to pretend he's poor, fails miserably, meets a perfectly lovely woman with whom he can share his life of privilege with, attempts a humanitarian act of compassion, said act indirectly lands him in a genuinely terrible position in life, and realizes that not only was his butler right all along, but the best thing for him to do is to keep making light comedies." It's light satire. These days, light satire falls along the lines of 'Idiotcrasy', which was so wrong-headed in its approach that Fox, of all studios, buried it.

I gave it a 'B+', because in my need to nitpick, it seems Sullivan's fall from grace is too short, and his rescue seems more like an act of deux et machina than an actual plot point. I suppose Sturgis had to wrap it up at that point for time considerations, though. Ha! I am now the only person in history to not make the comparison between the title of Sullivan's 'important' film and the Coen brothers...

Er...

It Ain't 'The Incal'...

El Topo (D-) Last Christmas I had caught the beginning of this and had tuned out. I recall it had made a splash when it was released in the early 70's, going from underground film festivals to becoming a staple of the midnight movie circuit. (Thanks in part to John Lennon and Yoko Ono, who financed its American distribution.) Well, I had finally decided to rent it out, mainly to see what all the fuss was about. For what it's worth, I'm not giving it a 'F' simply for the merit of it being Jodrowsky's personal vision. (As opposed to, say, some New World/ Roger Corman exploitation gore-sex fest, which it superficially resembles...)

There are films from a specific time that could have only come from that time, and when we look back on them several decades later, we think, "Well, yeah. There's a reason El Topo came from roughly the same era as say, Easy Rider and Billy Jack." All three are intensely personal visions that came about from the collapse of the Hollywood studio system, when the industry was flailing around for a new paradigm. Interesting side note: all three films have a 'Western' landscape as a backdrop.

My real beef with 'El Topo' is that because it's so tied in with Jodrowsky's personal vision, I find if you see Jodorosky's self-aggrandizing spiritual pop philosophising long-winded and tedious, (as I do) you're not likely to enjoy "El Topo" much. His movie is, in the end, a bunch of pop-culture name dropping under the guise of being deep and insightful. Personally, I'd take John Boorman's 'Zardoz' as having more depth than 'El Topo'. Imagine yourself at a
party with Jodrowsky and discussing "El Topo" with him...

"Maestro! (You'd kiss his ass in this format so's he'd acknowledge your presence...) Clearly 'El Topo' is about your personal struggle with organized religion! As well as your struggle with women's sexuality!" Jodrowsky would smile beatifically, nod, and perhaps clasp your shoulder in a paternal gesture.

"Mmm.. Perhaps, my child... Perhaps...", he'd smile enigmatically. Then he'd go off and boink your girlfriend...