Re, Mi, Do, Do, Sol: Reflecting on Close Encounters

“I thought it was really interesting we didn’t have to journey to the stars to make our discoveries, but, in fact, beings from other stars had journeyed to our planet.” – Steven Spielberg

(Caution: Major spoilers ahead)

Today marks the 36th anniversary of the release of Steven Spielberg’s Close Encounters of the Third Kind, his third feature-film and first after Jaws (1975).

1977 was a memorable year for science-fiction cinema, with Star Wars releasing in May and Close Encounters in November. While George Lucas’ space-fantasy took us to a galaxy far far away, Spielberg stayed home, playing on the phenomenon of UFOs and visitors from other worlds.

Richard Dreyfuss as Roy Neary

Close Encounters tells the story of Indiana electrical lineman Roy Neary (Richard Dreyfuss), who witnesses a UFO fly over his truck while on a job; something he “can’t explain.”  Neary soon becomes obsessed with visions of an abstract shape that “means something,” and partnering with Jillian Guiler (Melinda Dillon), whose 3-year-old son Barry (Cary Guffey) is abducted by the mysterious visitors, Neary follows his visions to Devil’s Tower in Wyoming, hoping to find answers.

Theatrical release poster

This isn’t your War of the Worlds extraterrestrial film.  Rather than invasion and destruction, Close Encounters touches on family, friendship, engaging curiosity and taking chances.  Dreyfuss’ portrayal of Neary’s detachment and dissatisfaction with his family life is emotional to say the least.  It’s this dissatisfaction that leads him to leave his family behind and pursue his curiosity surrounding the extraterrestrials.

The film’s title comes from Dr. Josef Allen Hynek’s close encounter classification system:

First kind – sighting

Second kind – physical evidence

Third kind – physical contact

“A close encounter of the third kind is really when you meet them,” Spielberg says in The Making of Close Encounters of the Third Kind.

Spielberg was a firm believer in the UFO phenomenon growing up; the seed for what became Close Encounters and Spielberg’s interest in telling stories of worlds beyond our own.

Paired with special effects rivaling Star Wars, John Williams, who scored both films, provides audiences with an awe-inspiring atmosphere.  The notorious five-note melody stays in the viewer’s mind not only as a musical theme to the film, but a universal phrase for friendship.

Thirty-six years later, Close Encounters continues to capture viewers’ imaginations, and like E.T., the film reminds us that in a world full of hate, it’s still possible for friendship to prevail between the most unlikely individuals.

Barry (Cary Guffey) staring into the lights of a visitor craft

As long as I can remember, science-fiction has been my favorite genre of film. I can only attribute this to the flawless ability of such stories to captivate and inspire. So, to further honor Spielberg’s 1977 classic, and celebrate science-fiction, I conclude this post by sharing my 10 favorite science-fiction films.

10. The Matrix (1999)

I remember my mom getting this on VHS through a mail-order rewards deal.  I didn’t watch it for several years because she always said it looked dumb.  A friend of mine in middle school persuaded me to watch it, after which I was blown away.  I thought it was one of the most awesome movies I had ever seen, but I still didn’t quite understand it until some time later.

As an adult, I find The Matrix to be one of the more unique sci-fi films out there because of its use of machines and computer programming.  Agent Smith’s comparing human beings to a virus rather than mammals because of our behavior is a particular concept that’s stuck with me in recent years.

The idea of your entire world and life being a computer simulation is scary and hard to comprehend.  The question of whether your world is real (a subject that will come up again on this list) is one a person can get lost in, and this film is built around that question.

Awesome fight sequences and special effects, along with many memorable moments like “the Red Pill or the Blue Pill” and the infamous Keanu Reeves bullet dodge, make The Matrix a worthy addition to one’s sci-fi collection.  Not to mention the film has one of my favorite endings in cinema: “Where we go from there…is a choice I leave to you,” followed by Rage Against the Machine…Epic.

And this ending is precisely why The Matrix is perfect as a stand-alone film.

9. Predator (1987)

Only when exposed to another being or civilization far more advanced than our own do we realize how inferior we are in the grand scheme. This is why Predator appears on this list.

It seems we humans never think of anything being out of our league in the universe. The Predator, one of the most amazing characters created in science-fiction, is a reminder of our true place.

I’m not saying that the intention of Predator was to point all this out. After all Arnold DID win (human superiority). It’s just nice when some movies show that we’re not as superior as we think. Something to remember.

A wake-up call combined with a fantastic piece of science-fiction/action-entertainment is why I love Predator.  That and the fact that the Predator having a 7/8 meter heartbeat is just beyond awesome.

8. Blade Runner: The Final Cut (OR 1982, FC 2007)

This is the film my uncle deems the greatest science-fiction film of all time, along with the majority of sci-fi moviegoers.  While it’s not my favorite, Blade Runner is certainly one of the, if not THE most influential films in science-fiction cinema, and I can objectively recognize its status in the genre.

If it weren’t for my uncle, I wouldn’t have seen this film for the first time three years ago.  I can amusingly say I watched this against my will because he was going to make sure my brother and I experienced Blade Runner before leaving his house.  I’ll admit we weren’t sure what to make of it after our first viewing.  However, after multiple viewings, including that of the theatrical and international cuts, I’ve grown attached to Ridley Scott’s android thriller.

Him having made both Alien and Blade Runner, I like to say Ridley Scott is the man responsible for science-fiction thrillers in cinema.  I find Blade Runner to be the stronger film though, as it has a cinematic approach similar to Alien, but with a more personal touch.  And come on, it’s Harrison Ford, man.

No doubt about it, Blade Runner is a hell of a film.  The only question is: Is Deckard a replicant?

7. Independence Day (1996)

Next to Jaws, this is the film you watch every Fourth of July in the United States.  People can say whatever they want about this film’s plot, specifically regarding the ending, and they can suck it too.  ID4 is the standard I hold for every alien invasion film made since 1996.

You have city-sized ships, ultimate destruction, dogfights, Jeff Goldblum being a nerd’s nerd, Will Smith beating the crap out of an alien captive, Area-51 and an eerie autopsy…what’s not to like?

I didn’t hear people complaining about the film’s ending until I got to college, and I must admit I was struck dumb by such talk.

At 6 years old, this was my first alien film.  I loved and was obsessed with the movie, even getting one of the alien figures for Christmas that year.  Of course, there were still moments that scared me, notably the clip below.  I saw this in the theater at least twice, and after the first viewing, I remember not wanting to look when the alien awakes during the autopsy.

6. Inception (2010)

Are we awake or are we dreaming?  Is our world real?

These are three of many questions presented by Christoper Nolan’s mind-navigating sci-fi thriller.  The thought of people being able to invade your mind via dreams and steal your secrets is certainly one of the film’s scarier notions, but apparently such actions are simple as opposed to planting an idea in one’s mind.

When this film came out I only heard about how confusing it was, and that one had to see it several times to understand the ending.  I finally saw it at my sister’s apartment the following Christmas and the first thing I thought was, “What the hell are people talking about?”  I had no trouble following Inception, and thought the contrast between dream levels was pretty straightforward.  Then the ending came with the spinning top and abrupt cut to black, and I thought, “Oh.”

Everyone has their own interpretation, mine being that Cobb was awake and finally reunited with his children.  For one, what kind of shitty ending would that be if he didn’t?  The film’s only been leading up to that moment for 2 ½ hours.  Plus, come on…the top is clearly about to fall.

What people probably fail to take away from Inception is it doesn’t matter whether Cobb was awake.  The point is he finally decided to let go, which is a more powerful message than the status of reality.

This film has, without a doubt, the greatest special/visual effects used in modern cinema.  As a filmgoer, I respect and admire Nolan’s reliance on practical effects.  In a cinematic world where CGI is everywhere, practical effects only become more important in terms of enhancing realism.  If I had a top-10 list of special/visual effects shots, the scene in which Joseph Gordon-Levitt fights a projection in the gravity-shifting hallway would definitely be among the top 5 slots.

5. Back to the Future (1985)

Best time travel movie ever.

Whenever someone hears the words “time machine,” how much do you want to bet they picture a DeLorean?

When I saw this film at the age of 4, I remember my mom got me to watch it by telling me “the guy from Teen Wolf” was in it.  This simply became another one of those movies that stuck with me.  Aside from the humor and awesome concept of time travel, the biggest impact Back to the Future had on me was introducing me to rock and roll.

The attention to detail and cultural differences between 1985 and 1955 portrayed in the film are another factor that make Back to the Future stand out among time travel movies.  Some of the best include Doc’s laughing at the idea of Ronald Reagan being president, and Lorraine’s father’s reaction to Marty saying “John F. Kennedy Drive.” – “Who the hell is John F. Kennedy?”

And I, for one, am fond of the sequels, but still recognize the original as the staple of the time travel genre.  Who can forget that moment when Einstein becomes the world’s first time traveller?

4. The Iron Giant (1999)

This film is an example of how animation can emotionally trump live-action.  The bond between a little boy and an extraterrestrial machine The Iron Giant presents is so convincing, you almost forget your watching a cartoon.

Many will say this is the best non-Disney animated film out there, and while I agree, I would even put it up in the top 10 animated films of all time.

One of the things I love most about this movie is the depiction of 1950s American culture, like the fear of Communism and atomic holocaust with the duck-and-cover video shown in Hogarth’s school.  The whole film just has that 1950s sci-fi B-movie feel to it, even with it being animated.

Of course, my favorite part is the Giant’s reaction to what appears to be Hogarth’s death.  The anger and sadness mixed with regaining his memory result in a hostile response toward U.S. military forces.  One of his weapons, which I can only describe as a “disapparator,” (stemming from Harry Potter lingo) is one of the most badass things I have ever seen in science-fiction.

3. Terminator 2: Judgment Day (1991)

I first saw T2 in the summer of 2000 while on vacation in Destin, Florida.  The thing that stuck in my mind after watching it wasn’t the T-1000, which some might expect, but Sarah’s dream of Los Angeles being nuked.  That scene scared the hell out of me as a child, and to date, remains one of the scariest scenes I have ever seen in a movie.

This film introduced me to what a nuclear weapon was and what it could do (I didn’t see The Iron Giant until later, and in that film, nukes aren’t depicted in the same manner as T2 ).  After seeing that sequence as a 10-year-old, and learning that nukes were very real, it terrified me that something like that could actually happen, however unlikely.

T2 was one of those instances where I saw the sequel before the original, which made for a more interesting experience because I didn’t know who John Connor’s father was, and I couldn’t understand why Sarah was so afraid and distrusting of Arnold, despite the fact he was the hero.

There are many memorable moments from T2, like Arnold using a shotgun while riding a motorcycle and the protagonists blowing up Cyberdyne Systems.  But of course, the most awesome part of this film is unmistakably the T-1000.

Next to Vader, the T-1000 is the best movie villain, hands down.  From a technical standpoint, seeing Robert Patrick morph into other people and form weapons with his hands was an awe-striking sight for moviegoers, showing just where CGI was taking the film industry.  From a story standpoint, how in the hell do you defeat a liquid-metal killer?  There’s a surefire solution, of course, for those who have seen the film, and if you haven’t, I don’t know where the hell you’ve been for the past 22 years.

The T-1000 has many kick-ass moments, but my favorite, which, sadly, isn’t featured in the clip below due to availability, is the first brawl between it and Arnold in the steel mill.

Arnold throws the T-1000 against a metal surface, face-first, but this proves useless because the T-1000 morphs its body from front to back, standing face-to-face with Arnold once again.  Arnold then decides to punch the T-1000 in the face; another failure.  The T-1000 begins to morph once more with Arnold’s fist trapped in the shifting alloy.  It morphs its head into its hands, giving the T-1000 a firm hold on Arnold.  So…Arnold is basically screwed.

T-1000 = Sheer badassery

2. Jurassic Park (1993)

I know what some may be thinking.  “Jurassic Park is action-adventure.”  Yes, but at its core, Jurassic Park is a science-fiction story.  Scientists resurrecting extinct animals via genetic-engineering is the basis for Michael Crichton’s novel, which transfers over into Spielberg’s film adaptation, making Jurassic Park an unquestionable addition to the science-fiction genre.

Like with Back to the Future, I saw this movie when I was 4.  I was blown away then, and am still blown away today.  Some kids were probably scared of this movie when they saw it.  My sister said the Dilophosaurus scene scares her to this day, and she’s in her late 20s.  From what I remember, this film didn’t scare me at all.  I think I was so mesmerized by Jurassic Park that it was impossible for me to be scared.

Sadly, I didn’t get to see this in theaters in 1993, so VHS was my first experience, which only made this spring’s 20^th anniversary 3D re-release all the more important to me.

I saw the re-relesae twice, once in IMAX, and I was amazed at how well Jurassic Park has held up on the big screen.  Industrial Light & Magic’s effects are simply top-notch.  They executed the blending of animatronics and CGI to the best of their ability for the purpose of showing moviegoers living animals, and succeeded.

Like Jaws and the Star Wars trilogy, there isn’t one damn thing I find wrong with this movie.  Everything from the acting to the effects and music is perfect.  Funny coincidence that all five scores just happen to be composed by John Williams.  And for anyone who questions the sudden appearance of the sheer drop in the Tyrannosaurus escape, please check out this image.

Jurassic Park, of course, set the standard for use of digital effects in the film industry.  This changed movie making in the way Star Wars did in 1977.  It took the potential for enhancing the illusion of film a step forward, and where many films have attempted to either replicate or top Jurassic Park, many always fall short.

In an interview with Phil Tippet and Dennis Muren, two of the special effects artists who worked on Jurassic Park, the two were asked if special effects have gotten better, or to the point where they’re completely unrealistic.  After a brief silence, Muren says special effects have gotten “bigger.”  Tippet then adds, “Not better. It’s kind of like symphonies at the end of the 19^th century. All they could do was get louder and longer. And where’s the symphony now?”

Food for thought.

1. The Empire Strikes Back (1980)

Referred by some as Star Wars Episode V, the sequel to George Lucas’ 1977 classic probably had moviegoers thinking, “Oh, there’s no way this can top the first one.”  Oh how wrong they were.

Empire is arguably the best film in the Star Wars franchise because of the overall intensity and drama, Vader’s relentlessness, the introduction of Boba Fett and Yoda, the Battle of Hoth, the romance between Han and Leia, and the twist at the film’s climax.  Like the original Star Wars, Empire includes many humorous elements, but at the same time, takes the maturity level a step above its predecessor.

As always, John Williams provides the audience with an emotionally-engaging soundtrack.  For some who may not know, Empire is the first Star Wars film to use “The Imperial March,” the notorious music commonly known as the Darth Vader theme; just one more element that heightens Empire’s quality.

While it is true that the Star Wars franchise is more space-fantasy than science fiction, the galactic setting makes it impossible for me not to include Empire on this list.  When you’re in the mood for a science-fiction/space film, Empire has everything you want.  And why Empire and not the original Star Wars?  Empire is simply my favorite Star Wars film.

I think we have a lot to expect from the new films Disney and Lucasfilm plan to release, but no matter their attempts, I don’t see another Star Wars film achieving the quality of The Empire Strikes Back.

Howl-oween Series – Part III: What to Watch

“The woods around Halloween-time is a scary enough phenomenon…” – Heather Donahue

How many scary movies can you watch in a day?  Depending how easy you scare, it may not be the brightest challenge to take.  This, however, is the day where it just feels wrong to ignore the horror movie trend.

Everyone, of course, has their taste when it comes to horror films.  This is mine.

No matter how bad some of these movies have scared me over the years, I can’t deny their superior quality.  As October comes to a close, I conclude this series with a countdown of my 10 favorite horror films.

Happy Halloween.

(Caution: Some of the following videos and text contain major spoilers)

 

10. The Omen (1976)

Robert and Katherine Thorn go about their lives unaware their adopted son, Damien, is the Antichrist and son of the devil.  When Robert learns Damien’s true identity, he refuses to believe a 5-year-old child could be something so evil.   Can Robert accept the truth and prevent Armageddon?  Of course, to do that there’s only thing he can do: Kill Damien.

This film is one example of how 70’s horror got it right.  Next to #3 on this list, The Omen is without a doubt the scariest movie I have ever seen.  Every element from the story to the chilling Latin-chanting score makes The Omen a movie you don’t watch at night.  It’s because this movie scares me so much that I put it as #10. I recognize how good a movie this is…I just don’t like to watch it.

Fun fact: People are typically scared of Rottweilers because they think they’re mean.  I’m scared of them because of this movie.

 

 

9. The Shining (1980)

Based on Stephen King’s terrifying novel, the Torrance family spends the winter in the mountains while husband and father Jack Torrance works as caretaker for the Overlook Hotel.  However, Jack and Wendy’s son Danny, a telepath, begins seeing haunting images from the hotel ‘s dark past, making this winter anything but pleasant.  Eventually, these wandering spirits and isolation drive Jack insane, causing him to go after his wife and son with an ax, following in the footsteps of the Overlook’s former caretaker. Can Wendy and Danny escape? Or will they become part of the hotel’s history like the previous family?

I’m not a particular fan of Stanley Kubrick’s work, but this is one of his I can watch because his non-conventional style fits horror perfectly.  Oddly enough, I was first introduced to this film through the drive-in scene in Twister (1996).  The excerpt Twister showed scared me even then.

And even now there are scenes I can’t look at it when I watch this film, namely the twins in the hall and room 237 scenes.  Forget both of those if you want to sleep at night.

 

 

8. The Strangers (2008)

All James and Kristen wanted was a quiet night to themselves. Instead, they get a night of torment as three masked strangers terrorize their remote vacation home.

Home invasion scares just about everyone. The horrifying thing about this film is its events are disturbingly realistic. Incidents like those in The Strangers have occurred many times in decades past and still do today. As far as the film’s concerned, I don’t know what’s scarier: what the strangers do, or the masks they wear.

Piece of advice though, if someone unexpectedly comes knocking around 4 a.m., DON’T ANSWER THE DAMN DOOR.

 

 

7. The Thing (1982)

A John Carpenter remake of 1951’s The Thing from Another World, The Thing tells the story of 12 scientists stationed at an American Antarctic research outpost who come into contact with a parasitic extraterrestrial organism.  The organism survives and multiplies by imitating who and whatever it absorbs.  Eventually, paranoia ensues the group as they try to figure out who’s human.

As a science-fiction fan, I shamefully have to admit I didn’t see this film until earlier this month.  It obviously made an impression, as I’m including it on this list.  This is where I would normally put Alien (1979), but despite similarity in the films’ plots, The Thing features a far creepier element to its story.  Unlike Alien, the viewer can’t readily identify The Thing.  It could be anyone and everyone without the viewer knowing.

 

 

6. Halloween (1978)

The citizens of Haddonfield, Illinois are horrified when 6-year-old Michael Myers murders his older sister on Halloween night.  After escaping from a psychiatric institution 15 years later, Myers returns home where he stalks Laurie Strode and her friends.  Dr. Sam Loomis, Myers’ psychiatrist, follows him back to Haddonfield, desperately hoping to stop Myers from killing again.

Halloween is one of the most iconic horror films of all time, not to mention another of Carpenter’s.

I don’t recall this film ever actually scaring me.  Perhaps it did when I was younger, but if it did, it was nothing compared to some of the previous films I’ve mentioned here.  It’s simply a classic seasonal film to me.  What I love most about it is how it’s become so iconic in the horror genre, yet uses little to no gore.  This goes to show that gore does not equal horror.

 

 

5. The Fly (1986)

A remake of the 1958 film of the same name, Seth Brundle’s self-teleportation experiment first appears successful, but he soon discovers his invention spliced his DNA with that of a lone housefly that wandered into the telepod.  As time progresses, Brundle begins to transform, his humanity disappearing piece by piece.  Eventually, he becomes something else entirely.

I believe I first saw this film when I was 6, and strangely enough, it didn’t terrify me at all.  I remember it being disgusting, but not scary.  It was movies like this that fascinated me with science-fiction as a child.  Now, as an adult, I’m able to recognize other aspects of this film and understand just how terrifying The Fly is.

 

 

4. Scream (1996)

In the town of Woodsboro, one year after the brutal murder of wife and mother Maureen Prescott, a masked killer begins calling, terrorizing and murdering various Woodsboro teens.  The townspeople become paranoid as no one knows the identity of the killer, and the year-anniversary of Prescott’s death sends the media in a frenzy as her daughter Sidney is one of the killer’s targets.  The film ends with a startling climax when the killer is revealed to be someone the viewer never suspected.

Next to Halloween and Friday the 13^th, this is one of the best slasher films out there.  There are two reasons for this. One is the originality of the story, which provided relief after a decade of terrible, repetitive horror sequels.  The other is the play on horror pop culture and the characters’ awareness of classic horror films and their trends.  Slasher films since Scream have never been of this quality or originality.

 

 

3. The Blair Witch Project (1999)

The film’s opening title card says it all.  “In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland while shooting a documentary.  A year later their footage was found.”

This is one of only two found-footage films I like, the other being Cloverfield (2008).  I’m typically turned off from this genre, especially with horror, because it tends to be cliché and dull while the acting is nil.  There were only seven found-footage film pre-dating Blair Witch, going back to 1980.  Blair Witch was the film that popularized the genre because of its realism, primarily due to the performances of the film’s three principal actors.

I was 9 when this film came out and at least 10 when I first saw it.  As much as it terrified me of camping, Blair Witch played a role in my desiring my own video camera when I was 11.  So, oddly, there’s a sentimental factor to my liking of this film, hence its high placement on this list.

I also just find Blair Witch to be a well-made and unique film.  The frustration Heather, Josh and Mike improvise at their inability to escape the woods is so convincing, you believe these people are genuinely scared for their lives, despite it being fiction.

No found-footage film has impacted pop culture to the point Blair Witch did.  A lot of found-footage horror fans may consider the Paranormal Activity franchise scarier than Blair Witch.  I strongly disagree because Blair Witch plays heavily on the fear of the unknown, the greatest fear of all.

The basis for Paranormal Activity is paranormal involvement, hence the title. With Blair Witch, we aren’t given any visual hint as to who or what torments the filmmakers in the woods.  Sound is the only clue we have, and whenever you hear something without seeing or knowing what it is for three straight nights, that’s about the time your sanity collapses in on itself.

 

 

2. Jaws (1975)

Set in the beach resort community of Amity Island, a great white shark puts a damper on summer festivities when a young girl’s remains wash ashore.  Fearing for the safety of the island’s citizens, Police Chief Martin Brody fights the town’s mayor to close the beaches, but the mayor’s stubbornness prevails, resulting in several more deaths.  Teamed with marine biologist Matt Hooper and shark hunter Quint, the three venture out to sea to take on the predator and put an end to the summer terror, but little do they know this shark will give them more than they bargained for.

This and the #1 film on this list are two of my all-time favorite films.  Coincidentally, they’re both 70’s horror films, but while Jaws set the standard for cinematic tension, it also heavily impacted American culture.  When a film scares generations of people into avoiding the ocean for fear of being eaten, that film becomes the most effective horror film of all time.

Some dispute Jaws’ status as a horror film, and my argument on the subject can be viewed here.

I’m not a fan of swimming in natural bodies of water, particularly the ocean, because of the unknowns that come with a foreign environment.  There’s no telling what may be in the water with you, and that’s what scares me.  Jaws illustrates this fear perfectly.

 

 

1. Carrie (1976)

Invited to the senior prom by the most popular boy in school, 17-year-old Carrie White reluctantly accepts under the assurance no one’s out to hurt her.  It was the best night of her life until a joke went too far.  Drenched in pig’s blood, she hears the discouraging words of her mother in her head as she senses the false laughter of everyone around her.  Tired of the anguish, and through her recently discovered telekinesis, her emotions come to life and transform a night of magic into one of horror and death.

This is one of only three films where I have to actually look away at certain moments.  Despite these creepy elements, there’s no question in my mind the tragic story of Carrie White is my favorite of the horror genre.  This is all because of my relation to Sissy Spacek in the film.

My emotional connection to Spacek as Carrie is one of the strongest I’ve ever had with any fictional character.  Because I, too, was a skinny, red-headed, socially awkward kid in my pre- and early-teen years, I saw a bit of myself in Spacek’s Carrie, despite being a guy and actually having a stable home environment.

 

Howl-oween Series – Part II: Carrie vs. Carrie

“‘You’ll never forget it,’ she said. ‘Never.'” – Stephen King

Teens are often misunderstood.  As a result, they can suffer horrendous emotional and physical torture by their peers.  Carrie tells the story of a tormented girl who strikes back at her peers with extreme prejudice.

Invited to the senior prom by the most popular boy in school, 17-year-old Carrie White reluctantly accepts under the assurance no one’s out to hurt her.  It was the best night of her life until a joke went too far.

Drenched in pig’s blood, she hears the discouraging words of her mother in her head as she senses the false laughter of everyone around her.  Tired of the anguish, and through her recently discovered telekinesis, her emotions come to life and transform a night of magic into one of horror and death.

First edition cover

39 years after Stephen King’s best-selling novel hit bookstores and 37 after the release of Brian De Palma’s film adaptation, Carrie continues to grip readers and viewers.  Fascination with the story brought a new adaptation to theaters Oct. 18, starring Chloë Grace Moretz in the title role and Julianne Moore as Carrie’s mother Margaret White.

Directed by Kimberly Peirce, the 2013 Carrie is the second remake of De Palma’s 1976 film, but only the second theatrical adaptation of King’s novel – first remake was a 2002 TV movie.  Critical reception has been mixed (48% on Rotten Tomatoes), with the film earning only approximately $26 million so far.  Despite the film’s performance and reception, I enjoyed it from beginning to end.

I’ll always prefer De Palma’s version though.  I just don’t see myself connecting with an actress on an emotional level the way I did with Sissy Spacek.  That being said, what attracted me to the 2013 film in the first place was Moretz and Moore.  I was intrigued to see these actresses take on such dark roles, given their past performances, and impressed with the outcome.

Despite Peirce’s film nearly being a shot-for-shot remake of De Palma’s, they still had their differences.  So as a viewer, here’s my take.

Theatrical release posters for 1976 (left) and 2013 (right)

(Caution: Spoilers ahead)

The obvious difference with the remake is the modernization of the story.  This element took the longest for me to digest, but not out of disgust.  The use of smart phones, YouTube, computers and other contemporary trends is impossible to picture in 1976, so you have to disassociate yourself with that version and realize you’re watching something new.

References to Alfred Hitchcock, like the use of Psycho‘s violin screech to represent Carrie’s telekinesis, are absent in Peirce’s film.

De Palma used a lighting style that gave his Carrie a dream-like visualization.  Peirce’s use of sharper colors and less light almost makes her darker scenes feel claustrophobic.

The scores also give the viewer an idea of what kind of film they’re watching.  Pino Donaggio’s score in the 1976 film is an example of “less is more.”  The film’s themes are primarily comprised of strings and flute.  Synthesizers are sometimes featured.  Donaggio’s style emphasizes the desired emotional responses of key scenes.

Marco Beltrami uses a larger orchestra with a variety of instruments for the 2013 film, giving it a heavier musical anchor.  The film features more terrifying music, a common trend with modern horror films.  The use of “scare chords” to cause the viewer to jump is one example.

Here’s a comparison of the two main title themes.

And another of the theme played during Carrie’s rage.

Carrie

Sissy Spacek (top) and Chloë Grace Moretz (bottom) as Carrie White

Considering my earlier statement, Spacek is my obvious choice.  Moretz was excellent, don’t get me wrong, but I saw a bit of myself in Spacek’s character.  I connected with her on a deeper level than Moretz.  I was also astounded at how a 26-year-old woman could play a 17-year-old girl so convincingly and with such innocence.

The biggest difference is how both Carries react.  The locker room/shower scene when Carrie panics over her first period is a perfect example.

Both girls go into shock at the sight of the blood, and not knowing what to do, reach out to their peers.  Carrie doesn’t understand what’s happening and believes she’s dying, but rather than help, the other girls ridicule Carrie while throwing tampons and sanitary napkins at her.

Spacek goes into a catatonic state as she’s tortured.  You just want to help her because she comes off so helpless.  The gym teacher eventually steps in and puts an end to the psychological terror, but the trauma remains.

The scene is similar in Moretz’s portrayal.  She falls to the floor, screaming and crying, desperately trying to psychologically retreat as she is mocked and filmed.

The level of emotional involvement isn’t any different for the viewer.  For me, Spacek simply had more tragedy in her eyes.

Both actresses pulled off the role, and each viewer will have their preference.  For some, Spacek scared them, so maybe it was difficult to sympathize.  That wasn’t the case with me, but I still sympathized with Moretz.  What happened to her character wasn’t any less awful.

“…aware that the joke was on her (as always), dumbly embarrassed but unsurprised.” – Stephen King

Margaret White

What can I say?  Both Piper Laurie and Moore know how to play a psychotic.  You want to run away from both of them.  Laurie just scared me.  Simple as that.

The grin she dons while going after her daughter with a knife will put eerie thoughts in anyone’s head when they lie down at night.  Moore, while convincing, didn’t display that creepiness.  The scene when Carrie returns from the prom, looking for her mother, and Moore hovers across the frame in the background bore that jump-startling feeling we’ve all met before.  Laurie, no matter how many times you watch, gives you shivers.

Either way, how anyone can stab their daughter in the back when all she wanted was to be comforted is something I just can’t comprehend.  Maybe that’s because I’m sane.

I’ll call it a draw between Laurie and Moore, for their performances were equally captivating.  Laurie still scares me though.

Piper Laurie (top left, bottom left) and Julianne Moore (top right, bottom right) as Margaret White

Chris Hargensen

Nancy Allen (top) and Portia Doubleday (bottom) as Chris Hargensen

Don’t let that cute smile on Nancy Allen’s face fool you.  The character of Chris Hargensen is renowned as a relentless bully; the kind you love to hate.  Both actresses filled this role well, but how are they different?

Portia Doubleday captures every essence of a rich, spoiled brat; suitable for a bully.  Allen on the other hand was a pure, cold-hearted, evil bitch who deserved way more than what she got in the end.

Early on in both films, Carrie frustrates her classmates during a volleyball game in gym (Spacek loses her team the game; Moretz fouls up a serve, nailing Chris in the back of the head).  Chris’ response is the same in both films, projecting the words, “You eat shit!” at Carrie.

Allen delivers the insult as if she passionately hates Carrie; whereas Doubleday uses the phrase as a mere rude remark, laughing while she says it.  It’s uncalled for no matter the delivery, but Allen sounds as if she wished Carrie were never born.  This level of emotion deepens the conflict between Carrie and Chris, making the film’s climax far more intense.

On that note, Doubleday’s death as Chris was bittersweet compared to Allen’s.  The viewer sees Doubleday eat the windshield of her boyfriend’s car before it explodes.  With Allen you only get the explosion, so those few seconds of Chris’ pain are absent.  If the characters were switched with situations, it’d be perfect.

Chris’ relationship with her boyfriend Billy Nolan was also different.

John Travolta (top) and Alex Russell (bottom) as Billy Nolan

Allen’s Chris was mean to her boyfriend along with Carrie, slapping and calling him “dumb shit” repeatedly.  Played by a young, smiling John Travolta, the Billy of 1976 is a more innocent character due to his abuse, and only does Chris’ bidding because she rewards him with sexual favors.

2013 gives us a different Billy Nolan, played by Alex Russell.  He’s rugged, smiles less and wears the pants in the relationship.  He even threatens to kill Chris if she speaks of their prom prank to anyone due to its associated criminal charges.

Doubleday’s Chris isn’t abused though, and she certainly isn’t the evil, manipulative girl Allen portrayed.  You don’t feel sorry for her, sure enough, but how much you hate Doubleday’s character is up to you.

My vote goes to Nancy Allen.  She was just as spoiled as Doubleday, but donned an evil persona Doubleday couldn’t begin to touch.

“You eat shit!”

Sue Snell

Amy Irving (top) and Gabriella Wilde (bottom) as Sue Snell.

A friend of Chris, Sue takes part in tormenting Carrie in the locker room, but relents when she realizes just how cruel her actions are.  In fact, she’s the only one to show remorse.  Sue gives her prom date to Carrie to make up for her cruel act.

The look on Amy Irving’s face in De Palma’s film when Miss Collins (the gym teacher) shakes sense into her couldn’t be more shocking.  Her tears tell it all.

The guilt Irving brings to Sue almost confuses the viewer.  You don’t know whether to feel for Carrie or Sue at times, but you begin to feel relieved that things are finally going to work out for Carrie because someone’s being nice to her.  Of course, we all know that’s not how it plays out.

Gabriella Wilde plays Sue in the new film, but only well enough to where the character is present.  For me, she just didn’t bring Irving’s level of emotion to the story.  I was happy she helped Carrie, but I didn’t feel bad for her like I did with Irving.

The scene where Sue asks her boyfriend, Tommy Ross, to take Carrie to the prom in Peirce’s film came off as bland and rushed to me.  Her request came off as a casual favor rather than a romantic gesture.  De Palma’s approach and execution made the scene meaningful.  He draws out the scene and presents Sue’s favor as taboo, making Tommy take Carrie a bigger deal.

Overall, if I need only one reason to pick Irving, it’s her tears in the locker room.  Just another example of how emotion plays a heavy roll in De Palma’s film.

Tommy Ross

No brainer: William Katt.  I could go into several reasons why, but I’ll only address one, and that’s the scene where Tommy and Carrie vote for prom king and queen.

William Katt (top) and Ansel Elgort (bottom) as Tommy Ross

This is probably the most moving scene in De Palma’s film, next to Carrie’s winning prom queen (prior to the prank).  Before Tommy convinces Carrie to vote for herself, he tells her she’s beautiful, something she’s probably never heard in her life.  The scene almost brings tears to your eyes.

Pino Donaggio’s score adds a soft, romantic touch to this scene that increases the contrast to what will take place only minutes later.  It’s almost as if you’re watching a completely different film.

The chemistry between Katt and Spacek is so genuine that you don’t even have to question Tommy’s falling in love with Carrie.

Ansel Elgort, sadly, just didn’t have Katt’s presence.  He came off as more of a run-of-the-mill teen.  The same scene between Elgort and Moretz was, again, rushed and came off insignificant to me.  It’s one of the most touching moments of the story and it seems as if Peirce’s version fails to take advantage of it.

Miss Collins/Desjardin

Another draw for me.  Both Betty Buckley and Judy Greer bring a heartfelt touch to the gym teacher who helps Carrie with her self-esteem.

Betty Buckley (top) and Judy Greer (bottom) as Miss Collins/Desjardin

Greer always makes me laugh, so it was difficult to imagine her playing this character who helps Carrie while making the other girls’ lives hell.  She surprised me though with how she handled this dramatic role.  She even brought an unexpected comedic touch to the film, but that made sense as comedy’s her milieu.

At the prom, when Greer greets Carrie and Tommy, Tommy asks if she or Carrie want any punch, before speculating someone spiked it as an up sell.  Greer gives him a snotty look, saying, “Really?”  I found it to be random and funny; an interesting change of pace from the other film.

I enjoyed Greer overall, but there were two moments she lacked that made Buckley’s interpretation so awesome.

One of these is this priceless exchange of dialogue between Miss Collins and Chris during roll call the day after the shower incident.

Collins orders the girls to line up.  “You too, Chris,” she says.  “And spit out that gum!”

“Where will I put it Miss Collins?” Chris asks sarcastically.

“You can choke on it for all I care, just get it out of your mouth!”

The second moment is the powerful slap on the athletic field. when Chris refuses to submit to Collins’ punishment.  When told she has 10 minutes left in detention, Chris retorts, “Stick them up your ass!”

Collins approaches Chris and BAM!  Collins slaps her so hard that the shock on Chris’ face is almost overwhelming.  It’s such a therapeutic moment.

Greer and Doubleday don’t have this interaction, and oh was I disappointed.

Another scene in which I felt Greer topped Buckley was when Carrie tells Desjardin she’s been invited to the prom.

Greer’s comforting and reassuring Carrie moved me more than Buckley’s.  Part of what made it stronger was their interaction taking place in the locker room where Carrie was traumatized only two days earlier.  Buckley sits with Carrie outside the locker room, so the change in setting has an effect on the emotional impact of the scene.  I also found Greer’s tone more nurturing, as if there was more comfort in her interpretation.

If it weren’t for Buckley’s epic slap, I’d probably go with Greer because of the comedic element she provides while retaining a sense of purpose.  But because of the slap, it’s a tie.

Carrie’s Rage

This is the scene everyone waits for.

One may say De Palma’s interpretation is dull now that we get to see Moretz throw everyone around with her mind.  However, it’s the scene’s tension and eeriness that gives De Palma the edge.  The unbearable amount of time it takes for the bucket of blood to tip isn’t even the best part of his direction.  It’s his use of sound.

The absence of dialogue and emphasis of music sets the scene.  The camera rapidly cuts from person to person until the rope is pulled.  You are then left with a long, still shot of the blood spilling over Carrie.  The only sound you hear after is a lone, dangling bucket hitting the rafters, along with the dripping of blood.  Everything just stops, giving the scene an eerie sense of realism.

“They’re all gonna laugh at you!”

Peirce’s scene replaces this build-up with the rope and pulley malfunctioning; that familiar scenario where the one thing that can go wrong goes wrong, but then everything works out.  It’s a way of creating tension by providing a false flag rather than using the scene’s elements.  Peirce then shows three consecutive takes of the blood spilling.  I’m not a fan of this style because I find it superfluous.  It almost makes the scene comical, eliminating the tension.  The students’ reactions are also audible, which for me, removes De Palma’s realism of the humiliation because when something like that happens, you drown out everything around you.

I did, however, feel that displaying Carrie’s shower video in front of everyone after the blood spills added to Peirce’s vision.  This worsens Carrie’s humiliation, as she now has to experience one traumatic moment while reliving another.

The outcome is the same though – Carrie becomes enraged.

Moretz uses her hands as a way directing the telekinesis.  With an evil smile, she moves her hands about, controlling her peers like puppets.  I saw this as an attempt to better illustrate Carrie’s control.  De Palma focuses heavily on Spacek’s eyes during Carrie’s rage, emphasizing the use of her mind.

Both methods work.  I prefer Spacek’s portrayal because her eyes lock me in.  My most memorable moment from that film is Carrie shutting off the lights, slowly looking down at her blood-drenched dress and hands as an ominous tone meshes with screams.  Breathing heavily, she gazes toward her peers with intensity, preparing to kill them all.

The Ending

“Blood was always at the root of it, and only blood could expiate it.” – Stephen King

The last part I’ll discuss is the ending of both films.  For anyone who’s seen the 1976 film, it should be obvious that my vote goes to De Palma, hands down.

While both films show Sue visiting Carrie’s grave, placing flowers out of respect, there’s one element missing from Peirce’s film: Carrie’s arm.

As Sue places a bouquet of flowers at the grave, Carrie’s bloody arm unexpectedly protrudes from the ground and grabs her.  Sue wakes from this nightmare, unable to escape Carrie’s wrath despite her death.

This is a nightmare for the audience too.  The viewer’s heart pounds at the sight of Spacek’s arm and the sound of Irving’s screams before the abrupt cut to black and silence.  The film ends with Donaggio’s gentle theme of strings and flute as the credits roll and viewers’ hearts continue to race.

In Peirce’s film, after Sue places a single rose at the grave, the tombstone cracks up the middle; implying Carrie’s telekinesis, therefore questioning her death.  The scene is certainly a nod to De Palma’s ending while staying original, but it doesn’t leave the viewer with the lasting impression of the 1976 film.

As I said before, I enjoyed Peirce’s film.  It wasn’t bad, just different.  The film wasn’t creepy like De Palma’s, but it reflected a new era of society which made it all the more intriguing.

Despite its placement in horror and creepy elements, I have never viewed the 1976 Carrie as horror. That film, to me, has always been a tragedy, and what’s important to take from this new film is that though social trends change, people can always be cruel.

“I am sorry for Carrie…They’ve made her into some kind of a symbol and forgotten that she was a human being…But she was, and she hurt. More than any of us probably know, she hurt.” – Stephen King

Howl-oween Series – Part I: The Forgotten Horror Film

Still from the classic “You’re gonna need a bigger boat” scene of Jaws

Filmsite.org defines a horror film as “an unsettling film designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience.”

I find that our perception of horror has shifted to a narrower view these days.  Generally speaking, we expect a horror film to involve a supernatural element, zombies or a knife-wielding killer.  This is the result of three bloated decades of tasteless horror films, sequels and remakes.

In light of these trends, I dedicate the first part of this series to one of the greatest, but forgotten, horror films of all time: Jaws.

Set in the beach resort community of Amity Island, a great white shark puts a damper on summer festivities when a young girl’s remains wash ashore.  Fearing for the safety of the island’s citizens, Police Chief Martin Brody (Roy Scheider) fights the town’s mayor (Murray Hamilton) to close the beaches.  The mayor’s stubbornness prevails, resulting in several more deaths, one on the Fourth of July.

Teamed with marine biologist Matt Hooper (Richard Dreyfuss) and shark hunter Quint (Robert Shaw), the three venture out to sea to take on the predator and put an end to the summer terror, but little do they know this shark will give them more than they bargained for.

From left to right: Shaw, Scheider and Dreyfuss aboard the Orca

Behind Psycho (1960), the American Film Institute lists Jaws as the second-most thrilling film in 100 years of American cinema.

Prior to 1975 the horror genre gave us classics such as Dracula (1931), Frankenstein (1931), The Wolf Man (1941), The Thing from Another World (1951), Psycho, The Birds (1963), Night of the Living Dead (1968) and The Exorcist (1973).  These films, in their time, set the standard for what scares us.

Janet Leigh in the infamous “shower scene” in Psycho

Psycho brought anxiety to anyone who stepped in the shower.  What was once a realxing place to refresh one’s self became a claustrophobic nightmare begging the question, “Is someone there?”

Jaws took this a step further with the world’s oceans.  However, today Jaws seems to be placed aside horror films rather than among them, hence my designating it a “forgotten” horror film.

I’m sure some, along with myself, don’t hesistate to slip Jaws into the horror category, but there are certainly others who refuse on account of “it’s only a thriller” or simply an action-adventure film.

Spielberg on the set of The Sugarland Express

Action-adventure does make sense because it is Steven Spielberg after all, the man who gave us Indiana Jones.  However, we must remember Spielberg wasn’t a household name prior to 1975.  Up to this point he was known for his work in television, Amblin’ (1968), Duel (1971) and The Sugarland Express (1974).  We know him today for his family-oriented films and historical dramas; not the case in the mid-70’s.

Parts of John Williams’ Oscar-winning score is another reason some might steer away from horror when it comes to Jaws.  The score is polarized in tone, giving the listener moments of fright and joy, but then again that’s the point. Such contrast is perfect for a horror film.

Most of the film does take place in daylight, causing that fear of the dark to be less prominent.  But some things can be just as scary well-lit as in the dark.

The previously stated elements distract viewers from Jaws’ true identity when they shouldn’t; especially to those born after the film’s release.  No one would argue that Jaws is a thriller, but what makes it a horror?

 

Original theatrical release poster

The Poster

What isn’t horrifying about this image?

Just imagine yourself swimming peacefully as this leviathan slowly approaches from below.  Still calm? 

I myself always perceived Bruce as a sea monster rather than a shark, given his size.

The Theme

What does anyone think when they hear the notorious Dun-dun-dun-dun-dun-dun-dun…?  Something lurking.  A slow-approaching predator.  Terror.

This musical theme is so well-known, even those who haven’t seen Jaws know its significance.

First Victim

If one only hears the horrifying screams of Chrissie Watkins, I’m pretty sure E.T. and Indiana Jones don’t come to mind.

Ben Gardner

This version of this scene, one of the most startling in the film, wasn’t actually added until after Jaws premiered.  Feeling something was missing, Spielberg went against the advice of his producers and redid the timing of this sequence to get one more scream out of the audience.  He was successful.

The USS Indianapolis

“When he comes at you, he doesn’t seem to be living…until he bites you, and those black eyes roll over white and then…then you hear that terrible high-pitch screaming. The ocean turns red, and despite all the pounding and the hollering, they all come in. They…rip you to pieces.”

Sounds like something out of John Carpenter’s world doesn’t it?

Not only one of the film’s most chilling scenes, but one of cinema’s too.  Brody and Hooper never expected their fishing trip to come with an unlikely chance of survival.  All it took to convince them was an unsettling war story.

In the Cage

He’s all alone and the only thing to protect him from a 25-foot, 3-ton predator is a set of metal bars.  As it turned out, that wasn’t even enough.

Quint’s Fate

The great hunter humbled by his game.  According to my mother, who saw this film in the summer of ’75, realistic violence like this was relatively unseen in pre-1975 cinema.  I can only imagine the shock of moviegoers at their first viewing of Quint being eaten alive.

———————————————————————————————————————————————-

My generation may not understand this, but the fact of the matter is Jaws scared people in 1975, and probably more than any horror film before it considering the cultural impact.  When a film terrifies a country into avoiding the beach during the summer, it’s fair to say a powerful impression has been made.  Film critic Jeffrey Lyons said in a 2010 CNN interview that he hasn’t been in the ocean since he saw the film.

The mouth of a great white shark

For those who don’t know, Jaws is responsible for our fear of sharks.  In a 2005 National Geographic interview, shark biologist George Burgess said, “(Jaws) perpetuated the myths about sharks as man-eaters and bloodthirsty killers…even though the odds of an individual entering the sea and being attacked by a shark are almost infinitesimal.”

Shark sightings and hunting also increased, further instilling the prejudice toward these animals; a prejudice that remains today.  The fear is simply in our blood, and it’s all because of this film.

The ocean is vast and mysterious, and the fear of the unknown is the greatest fear of all.  Perhaps this is why the thought of treading water with an abyss below your feet is so haunting.  Your legs just continue to idle…until something grabs you.

Maybe to most, Jaws doesn’t fit the contemporary horror genre, but we should at least agree it was the greatest horror film of its time.  Not doing so would be an insult to the film’s legacy.

A great white shark swimming beneath a ray of light off the coast of Australia

“They’re not here to fish.”

Promotional title card for the film

I’m reminded of the days of Cast Away (2000)and Road to Perdition (2002) when I see Tom Hanks going up against Somali pirates in his new film Captain Phillips.

(Caution: Spoilers Ahead)

Based on true events, Captain Phillips tells the story of a freighter captain (Hanks) whose ship, the MV Maersk Alabama, is boarded by four armed pirates while travelling through the Gulf of Aden.  The ship’s crew manages to evade capture and take the pirates’ leader, Abduwali Muse (Barkhad Abdi), hostage while the other three continue to hold Phillips.  In an attempt to exchange Muse for Phillips, the pirates flee the Alabama with Phillips in the ship’s lifeboat.

After the pirates’ mother ship abandons them and the U.S. Navy intercepts the lifeboat, Muse is deceived into boarding the USS Bainbridge to negotiate the release of Phillips.  The remaining three pirates are then killed by Navy SEALs, Phillips is rescued and Muse is taken into custody.

Phillips (Hanks) pondering his decisions as the pirates close in on the freighter

It has been a while since I’ve seen Tom Hanks in a strong drama in a theater.  Cast Away was the last Hanks film I actually went out to see, not counting Toy Story 3 (2010), so almost 13 years.

Professional critics have called this film a comeback for Hanks, as if he fell off the wagon in the first place.  Perhaps he’s taken up some work with unfavorable reception in the last several years (Larry Crowne, Extremely Loud and Incredibly Close, and Cloud Atlas), but to me, his talents haven’t diminished in the slightest.

Phillips surrounded as the pirates storm the bridge

Despite Captain Phillips’ critical praise, there is still controversy surrounding the true events on which the film is based, as well as those involved.  The real-life crew members of the Alabama have all described Phillips as a reckless captain and leader whose poor decisions resulted in the hijacking; they’re angered at the notion that the film presents Phillips as a hero.

Never would I argue with those who actually experienced such trauma, however, I’m simply looking at this as a film, and as a film Captain Phillips is great.  The film made me want to go back and watch Saving Private Ryan, Cast Away, Road to Perdition, Apollo 13 and Catch Me If You Can; some of which I haven’t seen in quite some time.

The Navy confirming Phillips’ condition aboard the lifeboat

I felt the acting, from everyone, to be top-notch and the scenery couldn’t have been better.  The intensity certainly progressed with the film’s running time, and while knowing Phillips would get out of the situation alive (due to his book), the tension still made his fate uncertain.

What moved me the most was Hanks’ performance at the film’s end, after being rescued. His genuine look of shock and inability to normally function was more than believable.  I actually felt for the guy.

The only thing I would say I wasn’t happy with is Paul Greengrass’ directorial style.  Sure, it worked for the second and third Bourne films, but I don’t want to see constant camera motion in everything he makes.  The only reason I’ll say it was somewhat appropriate here was because the film took place on the water 95% of the time, which is naturally rocky.  Jaws (1975) was shot in a similar fashion, mostly handheld.

Overall, Captain Phillips was the worth the ticket and I’m positive I’ll own it in the future.  Even if the telling of the events is skewed, it’s called “Based on…” for a reason.  It’s not a documentary, which is what people should remember.  It’s a movie made for the sake of entertainment.

The Navy surrounding the lifeboat as the crisis comes to an end

“I did it for me.”

Y’all can consider this an honorary post, as this is a film blog.  I, for one, can’t imagine myself not writing about this show.

We now live in a world where television fiercely competes with cinema in terms of deep, heartfelt storytelling.  In the last decade, mesmerizing television dramas like Six Feet Under, Lost, The Wire, 24 and The Shield have kept viewers glued to their TV’s with intensity.  Recently, one of the greatest TV dramas of all time ended its run: Breaking Bad.

(left to right) The show’s primary protagonists, Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul)

(Caution: Spoilers ahead)

Premiering Jan. 20, 2008, Breaking Bad aired its series finale last Sunday on AMC.  The episode, titled “Felina,” was watched by 10.3 million people, me included; the highest number of viewers in the show’s running. This post’s title is one of Cranston’s lines from the finale, from a scene in which Walt confesses to his wife the true reason for his turning to a life of crime.

Set in Albuquerque, New Mexico, Breaking Bad tells the story of 50-year-old “over-qualified” chemistry teacher Walter White (Bryan Cranston), who after being diagnosed with terminal lung cancer begins manufacturing and selling methamphetamine with his former student Jesse Pinkman (Aaron Paul).  Through five seasons, the show takes the two protagonists on an engaging journey of crime, loss and betrayal.  With Walt’s DEA agent brother-in-law Hank Schrader (Dean Norris) on his tail, chasing his alias Heisenberg, the show keeps asking that question – How will it end?  Will Walt be caught?  Will he die?  If so, how?  Cancer?  Police?  Family even?

The show finally gave its answer last week with Walt dying in a meth lab, his favorite place – succumbing to a gunshot wound received while protecting Jesse.

This is without a doubt one of the best shows I have ever seen, and while I came in a bit late, starting after season 4’s finale, I had only heard endless praise on the show’s acting and storytelling up until that point.  I actually began watching by accident, catching the pilot while my brother watched.  Needless to say, I was hooked not even halfway through the episode.

Some may be sad about the show meeting its end.  I’m not.  I’m happy Breaking Bad didn’t run too long and get stale, as a lot of shows tend to do these days.  For me, it ended on a high note and with a satisfactory conclusion.

There are, of course, people who didn’t appreciate certain elements of the show’s finale, attributing its praise to hype and nothing more.  I say whatever to that because Breaking Bad ended in every way I wanted.  All of my expectations were met, making this show the only show I have come to love in its entirety.  Not a dull moment, nor forgotten characters or story arcs.  Everything tied together perfectly in the end.

All I can say as to why I love this show so damn much is that it is just so damn good.  Everything about it; the drama, the humor, the music, the story, the acting…everything.  This is one of the few shows out there that can have you laughing hysterically before fighting every urge to shed a tear.  The contrast in tone at times is unbelievable.

I can only hope that 50 years from now, people will discuss Breaking Bad the way we reflect on I Love Lucy and M*A*S*H  today. What I’m sure of though, is that I will never experience another show like this one and will continue to re-watch it in the years to come.

I’ll close with a reflection of this song: “DLZ” by TV on the Radio.  Of all the songs used throughout Breaking Bad’s five seasons, this one is my favorite.  It appears at the end of the 10^th episode of the second season, titled “Over.”  This also happens to be one of my favorite scenes in the entire series, when Walt switches gears to his Heisenberg persona and tells two wannabe drug dealers, “Stay out of my territory!”

With only those five words, uttered in the most sincere tone and paired with the coldest stare a man can give, the two men back down and leave without a word.  As the scene closes, Walt stands alone, triumphant in the parking lot of a hardware store.

This song plays in the background of that one scene, but its lyrics reflect the show’s entire story line. I found this interesting given it was used so early on.  These words say it all: This is beginning to feel like the dawn of a loser forever.

“Life in space is impossible.”

Promotional title card for the film

It is rare these days that I get to see a decent space thriller, while actually wanting to put down the money for the experience. Gravity was just that, an experience.

I can’t even describe this film as science-fiction. “Science-reality” is the more appropriate term.

As the film’s trailer depicts, Gravity tells the story of a routine space walk gone awry. When orbiting debris renders their shuttle inoperable and cuts off communications with Earth, two astronauts (played by Sandra Bullock and George Clooney) must fight to survive the rigors of space and find a way to get back home.

(Caution: Spoilers ahead)

I’ll admit, after first seeing the trailer this past summer, I didn’t think there could be much to the film. When I read later that elements such as ambient sound would be absent from the film, I immediately became intrigued. I had never seen a film before that had the potential to demonstrate the real effects of space. Stanley Kubrick’s 2001: A Space Odyssey is the only thing that comes close, but because the film premiered in 1968, the cinematic world has been long without a realistic space thriller due to the success of films like Star Wars (1977), Aliens (1986) and Independence Day (1996). The final pull for me was James Cameron, one of my favorite filmmakers, calling Gravity the best space film ever made. I said to myself, “If this guy’s saying it’s, I need to at least give it a chance.”

Sandra Bullock’s character works on the Hubble Space Telescope in the film’s opening

Now, I can’t vouch for specifics regarding physics, space walks and orbiting satellites/space stations, but my basic knowledge of space tells me that Gravity makes the effort to put the viewer in space, as opposed to other science-fiction space thrillers.

When the characters are in space (specifically outside the space stations), their dialogue is presented to the viewer through the astronaut’s headsets, making it as if one’s listening to recorded radio transmissions.

When debris makes impact with the shuttle and International Space Station, no explosions are heard. One simply looks upon the destruction without any accompanying sound. I will say, however, that music is sometimes substituted for the sound of destruction. As debris hurls toward the spacecraft, the music’s intensity and dynamics increase. So in a way, the film’s intense moments are emphasized solely through the use of music.

I can only describe the rest of the film’s sound (while in the vacuum of space) as the effect of wearing ear plugs. It’s that feeling where everything is drowned out, and you can almost feel sound rather than hear it. This was also the first film I’ve seen in 7.1 surround sound where the sound is actually meant for the 7.1 format. This only made the use of sound more realistic in terms of the sounds’ points of origin. The film’s use of sound certainly made Gravity a surreal experience.

Another technical aspect I loved about the film was the camera movement. When watching a film, it’s easy to tell if the camera is anchored or handheld. In Gravity, the camera isn’t once still. This gives the picture and viewer a sense of weightlessness; perfectly appropriate for a space setting. It’s almost as if the viewer is in space with Bullock and Clooney. Then there are moments where the camera switches to Bullock’s point of view, such as the moment where she’s locked in a spin – the key scene of the trailers.

The visuals are an element I can’t even begin to describe. The shots of Earth alone were some of the most captivating images I’ve ever seen on the big screen. The sight of the aurora borealis, from a position where the sun is out of view, was one of the most incredible things I’ve ever seen in film. Of course, it only makes me want to witness the northern lights in reality even more, but that’s just one of the many things this film did for me. Nothing has made me feel more insignificant as a human being. From space, one can see how this planet simply lives on, despite the numerous social, political and economic problems that surround us on the surface. If we humans were to disappear today, the Earth wouldn’t change. It would look the same from space and continue to spin on and on and on.

Promotional art for the film

Everything just seemed so peaceful above the Earth. Ironically, the view distills just how dangerous space is. The final line of text before the film’s title in the opening reads, “Life in space is impossible.” I loved how that point was made before we see any part of the story. No setting, characters or anything. The film just bluntly makes the point, stating the truth. The thought of how life in space being impossible sticks with you (or me at least) from that point on.

George Clooney’s character holds on for his life in one of the film’s most dramatic scenes

Gravity’s running time of 91 minutes makes it perfectly paced. I feel anything longer, say two hours, might have dragged the film a bit because thinking about it, as captivating as the visuals were and how simple the story was, there’s only so much of that one can show before a large audience begins to lose interest. Thankfully, that wasn’t the case for me.
Was the acting perfect? Not necessarily, but it wasn’t terrible either. It works well enough for the visuals to compensate for any dissatisfaction with the actors’ efforts.

Bullock’s character attempts to contact Clooney’s from inside the International Space Station

If one expresses any interest in this film whatsoever, I definitely recommend seeing it in the theater because watching Gravity on a home television, no matter how big, will only take away from the film’s experience. But all in all, as a story of survival and confronting the fear of being alone combined with some of the 21st century’s best special effects, Gravity is certainly a must-see for science-fiction and space enthusiasts.

Disney’s Savior and Forgotten Past

The Walt Disney Company is known for extending its reach as a media conglomerate with its acquisition of Marvel Entertainment, LLC and Lucasfilm Limited, LLC, but every business has its horror stories.

According to an Oct. 30, 2012 press release, Disney purchased Lucasfilm for $4.05 billion exactly one year ago next month.  While it is true Disney retains a powerful hold over the entertainment industry today, Disney faced financial ruin six decades ago; a forgotten part of Disney history in contemporary society.

Snow White and the Seven Dwarfs (1937) was the first animated feature-length film Disney produced, and the first in the history of film.  It was a commercial and critical success, earning $6.7 million by May 1939, and set the bar for future animated productions.

Pinocchio (1940) was Disney’s next feat in feature-length animation.  Critics lauded the film for its accomplishments in animation and storytelling, and it presented Disney with its trademark theme, “When You Wish upon a Star.”  However, contrary to what many may think, Pinocchio didn’t break much of a profit upon its initial release.  The film was only shown in English, Spanish and Portuguese, while Snow White played in 49 countries in 11 languages.  Earning only $2 million overall, Pinocchio made $1.2 million for Disney after a $2.7 million investment.

Disney’s third feature, Fantasia (1940), was even more of a financial failure, initially earning only $325,000.  This film never even left the U.S. due to the special sound equipment required for screenings, provided only by RCA at this time.  The reason for this was that Fantasia was the first commercial film to be shown in stereophonic sound.  The theaters of the time simply weren’t fitted with the presentation tools necessary for stereophonic sound.  This, unfortunately, can be the cost of innovation.  Disney showed the film in select theaters, after which receipts proved a wide release to be impractical.

Now what was the reason for this major financial loss one might ask?  The answer is World War II.  The war closed off the European market to the western world, so the majority of international revenue was unavailable to Disney at this time.

Dumbo (1941) and Bambi (1942) were already in production during the war’s early years.  Dumbo turned out to be the only successful film during World War II due to its short running time of 64 minutes and simple story, but there was also another reason.  Two months after Dumbo’s release, the Japanese bombed Pearl Harbor, thus marking the beginning of America’s entrance into combat with the Axis Powers.  As a result, success for Bambi became impossible.  Even with a portion of Bambi scrapped to save on production costs, the film still only earned the studio $1.6 million after a $1.7 million budget.

The war affected Disney in more ways than just weakening Bambi’s release.  Many of the studio’s animators were drafted, and those who weren’t had to contribute time to producing propaganda cartoons.  Because the company’s founder, Walt Disney, was forced to rely on government funds for the sake of his studio, the propaganda cartoons were the government’s compensation.  One of the government’s key interests at this time lied with South America due to potential ties with Nazi Germany.  The U.S. wanted to promote relations with Latin America, as well as keep Latin American theaters from showing films associated with the Axis Powers.

These conditions, along with many unfinished story ideas from the past several years, brought viewers the “Package Film Era” of Disney features.  Six films released from 1942 to 1949; Saludos Amigos (1942), The Three Caballeros (1944), Make Mine Music (1946), Fun and Fancy Free (1947), Melody Time (1948) and The Adventures of Ichabod and Mr. Toad (1949).

The Disney Package Era

These films were short in running time and cheap to produce, some even blending live-action elements for the sake of using as minimal animation as possible.  The majority of the animation used was mostly produced using live-action reference techniques, such as rotoscoping.

Of these six films, the two better-known parts today are probably Ichabod and Mr. Toad’s adaptation of The Legend of Sleepy Hollow, and the “Peter and the Wolf” segment from Make Mine Music.

Neal Gabler’s book, Walt Disney: A Triumph of the American Imagination, recalls that at this time, “the famous Disney touch had become cloying.”

The package films were not major box office successes, but their earnings did help finance Cinderella (1950).  Cinderella marked the return of a single-narrative animated feature format, the first film since Bambi to do so.  Because of the company’s gathered debt following World War II, pursuing a full-length animated feature like Cinderella became a risky endeavor.

This time, of course, the odds played out in Disney’s favor, both Walt and the studio.  Cinderella was a huge box office success, earning $7.9 million after a $2.2 million budget; the studio’s first commercial hit since Snow White in the late 1930’s.  Box office revenue combined with merchandise, such as vinyl albums and publications, made it possible to produce Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955), as well as invest in live-action titles.  Cinderella’s success also gave Walt adequate finances to establish his own distribution company, giving birth to the Buena Vista Distribution Company in 1953, known today as Buena Vista Pictures Distribution.

Peter Pan was the last Disney animated feature released through RKO Pictures, Disney’s distribution source since Snow White.  Since Lady and the Tramp, every Disney animated feature has been released through Buena Vista.

What all this means though, is that the Disney company’s survival and power today is primarily attributed to the success of Cinderella.

“The failure of [Cinderella] would have sunk the Disney studio,” Gabler wrote.  “[Instead, it] wound up rescuing [the studio] from financial disaster and spiritual despair.”

Who knows for sure what would have been without Cinderella.  Yes, the Disney company has invested just as much into live-action filmmaking as animation today, but I think we can all agree that animation is the heart and soul of the Disney studio.  Had Cinderella flopped, would we have The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992) or The Lion King (1994)?  Again, who knows for sure.

What we do know is this: Disney animation lives on because of Cinderella, making it one of the most important animated films in the company’s history.

Disney hasn’t always been such a global force in the entertainment industry, and this dark period of financial crises shows that. The company can plummet today, no matter how unlikely, just as they almost did 60 years ago.

Disney’s studios certainly churn out some crap flack every once and a while, but occasionally they do get it right and give us something we cherish for the rest of our lives.

Unforgettable Imagery

In taking a moment to break away from the entertainment aspect of film, this week I want to recognize the 12^th anniversary of the tragic day we all remember.  One of the reasons those outside of Manhattan remember this day so well is because of the unforgettable images captured on film.

Documentary DVD cover art

These two documentaries are, in my opinion, two of the most important collections of footage from Sep. 11, 2001.

9/11, filmed by French-born American filmmakers Jules and Gedeon Naudet, is more about New York firefighters than the attacks.  Working with the New York Fire Department, Jules recorded incredible footage from inside the North Tower of the World Trade Center of firefighters working to save as many lives as possible, while his brother captured local reactions in the streets of Manhattan.

From left to right: Jules Naudet, Gédéon Naudet, and Firefighter James Hanlon

One of the most famous shots from this film is Jules’ capture of American Airlines Flight 11 hitting the North Tower.  This is one of only four known recordings of the incident, one of three video recordings, and the only detailed footage of the crash.

Overall, 9/11 is an extraordinary documentary that tells the heroic story of one battalion, but represents the heroism of the entire New York City Fire Department.

102 Minutes That Changed America captures the horror in Manhattan entirely from the locals’ point of view.  As a compilation, hundreds of amateur and professional photographers, who decided to keep their cameras rolling amidst the chaos, make it so one doesn’t have to describe the events.

The film’s format presents the day’s events in real time with no witness cutaways and mixes in audio recordings of 9-1-1 dispatchers, news anchors, and fire department radio with little to no music in between.  This gives the presentation a harrowing sense of realism that grabs the viewer without any effort.

“Pedestrians react to the World Trade Center collapse”

One of the more unfathomable parts of the film is the captured reactions of citizens in Times Square; faces of shock and disbelief staring up at the square’s jumbotron.  Surrounded by tall buildings and traffic, anyone in Times Square would probably feel cut off from the horror occurring in the Financial District, despite being only 5 miles away.

‘People in Times Square watch the World Trade Center fire live”

These events, and all the films that share their impact, will remain with us for the foreseeable future; a result of living in the digital age.

Power imagery.  It’s why we remember.

The Art of Inspiration

I see storytelling as the true art of inspiration.

Since mankind’s earliest historic recordings, inspiring stories have passed down from generation to generation through a variety of mediums.

Going back more than 2000 years, we have spoken tales, such as Homer’s The Iliad and The Odyssey.  Jumping centuries ahead, we dwell in the sounds of Tchaikovsky, Stravinsky, Mozart, Beethoven, and Bach; and the moving imagery of Leonardo da Vinci, Michelangelo, Vincent van Gogh, Pablo Picasso, Claude Monet, and Édouard Manet (just to name a few).

In the last 200 years, the visionary literary works of Sir Arthur Conan Doyle, H.G. Wells, J. R. R. Tolkien, Alan Moore, Michael Crichton, and Stephen King have come our way.  And only since the mid-20^th century have the revolutionary pop sounds of Elvis Presley, Chuck Berry, Jimi Hendrix, The Beatles, The Who, The Rolling Stones, Led Zeppelin, and Pink Floyd melded with our souls.

All storytellers.

One form of storytelling I didn’t previously mention is the art of filmmaking.  Why am I saving this one for last?  Objectively, it is one of the newest art forms available to us.  Personally, it is my favorite.

From Muybridge’s Sallie Gardner at a Gallop in 1878 to today (technically, Muybridge’s photographic study wasn’t carried out for artistic purposes, but it opened the door for the film industry), the art of motion-picture storytelling has captured imaginations around the world in numerous varieties.

Amazingly, the art of filmmaking is only a little over 100 years old, taking shape in the 20^th century with the silent era’s Sherlock Holmes Baffled (1900).  Other historic silent films followed, such as A Trip to the Moon (1902), The Great Train Robbery (1903), The Story of the Kelly Gang (1906), and Birth of a Nation (1915).

Film began to evolve soon after.  The Jazz Singer (1927) introduced sound to commercial filmmaking, changing film forever, and The Wizard of Oz (1939) demonstrated the potential for color use.

Animation made its mark with Walt Disney’s Snow White and the Seven Dwarfs (1937) and Pinocchio (1940).  The “golden age” of Hollywood gave us Gone with the Wind (1939), Casablanca (1942), Miracle on 34th Street (1947), The Ten Commandments (1956), Ben-Hur (1959), and Cleopatra (1963), along with many others.

The dawn of what’s now referred to as “new Hollywood” in the 1950’s presented films with a darker and more personal edge like Rebel Without a Cause (1955), Psycho (1960), Bonnie and Clyde (1967), 2001: A Space Odyssey (1968), Planet of the Apes (1968), M*A*S*H (1970), The French Connection (1971), and The Godfather (1972).

One of the most significant impacts to the film industry was the release of Jaws (1975) and Star Wars (1977), as they gave birth to the “blockbuster” era, an era which continues to thrive to this day.

Of course, all films in their purest essence draw from the stories and storytellers of the past; all the way back to Homer since everything is derivative.  However, regarding art, it is this medium with which I am the most moved, hence its selection for this blog topic.

I plan to share my opinions and provide insight concerning the historical significance of filmmaking for the next three months, and hopefully, the input is as inspiring as the medium itself.

Still from Steven Spielberg’s “Close Encounters of the Third Kind” (1977)