Under the Eye: “Late”

“Late”

We exist in a world where men with machine guns stand on every street corner and watch you. Where women are bound and gagged so they cannot move or speak. June tells us she was asleep when there were “temporary” inconveniences. When the Constitution was “suspended.” When women en masse were denied their jobs and their pay. In a flashback, June and Moira are jogging and getting ugly stares from passersby. Do two women jogging together deserve the incredulous stink-eye? They stop for coffee. June discovers she has no money in her bank account. The barista tells her to come back when she has money. He says, “Fucking sluts, get the fuck out of here,” which is on its face ridiculous and over-the-top in attempting to establish hatred for women. Moira and June? These women do not look like “fucking sluts,” and even if they did, I’m pretty sure the customer service handbook would make a point to advise their employees not to engage people in this manner. The scene is so laughably excessive it doesn’t belong in this show, but if it were true-to-life, someone (let’s say Moira) would be recording this conversation for later posting on Twitter and YouTube. Later, June and her female co-workers are being told they are to be “let go” (a polite word for fired) and to get out. If any of this were recorded and uploaded, I’m sure it would have an effect on the body politic. Creepy Guardians are kind enough to hold doors open for the women and their personal belongings and say, “Under his eye,” as calmly as saying, “Have a nice day.”

“Wanna move ahead but the boss won’t seem to let me, I swear sometimes that man is out to get me”

In the present, people (namely the Martha Rita, and Serena) are being nice to Offred, presumably because they think she might be pregnant. Serena even takes her to see the new baby. This is where I begin to suspect that people never truly change in this world. They can wear masks and pretend to be sheep, but being born a monster makes it difficult to hide that treacherous face. Serena is an object I would never consider for pity, although I do pity her and Commander Fred for their woeful ignorance and maladaption. I don’t pity Serena for her bursts of unwarranted anger and violence against either Offred or Rita. June visits Janine, who teeters on the brink of emotional collapse. She is possessive of her baby, and it is her baby, no matter what any of these ignorant women say. The “pretend” aspect of all of this frustrates me. In another life, Serena could’ve been June’s overbearing boss, and June could tell her to go fuck herself and walk away, but not in this world. This is a world where women are not permitted to read, and they are supposed to pretend that they are unable to read because they are women. June pumps Nick, the driver, for information about Ofglen. Nick is a slug, perhaps well-meaning and distracted, but a slug nonetheless. Another flashback reveals all the money has been moved into men’s accounts; husbands or next-of-kin. This is where we sense Moira’s hostility toward men. She blames Luke for the actions of the terrorists, and in fact, she denies that this is terrorism; that this is what all men want – to control women, to control their lives, and to control their money. As a man, I can tell you that’s bullshit.

“I’m just a girl who can’t say ‘no,’ and I’m in a terrible fix!”

I’ve held back on discussing Aunt Lydia because I view her as nothing more than a lifeless vessel of torture. June is interrogated by an Official while she is poked with a cattle-prod by Lydia. They ask her about Ofglen. They ask if June finds her attractive. If Ofglen ever put the moves on her. If she knew Ofglen was a lesbian. Lydia, out of nothing more than anger, beats June after scripture is quoted back to her, and the only thing that stops the beating is Serena’s intervention, believing Offred to be pregnant. You can imagine the look on her face when she has her period. Now Emily (Ofglen) strikes me as a smart girl. She’s a college professor, for fuck’s sake! Why does she engage in a sexual relationship with a Martha in this climate? Is Emily turned on by housekeepers? Is it an act of defiance? Well, she just got her Martha-girlfriend killed for it, and they make her watch. It is a chilling scene that checks off two strong political talking-points: violence against women, and violence against homosexuals. Emily is then sexually mutilated for her transgression. There is another thoughtless flashback which shows demonstrators in a violent clash with Guardians inappropriately set to the strains of “Heart of Glass.” “Living in the Real World” would’ve been a better choice, but I don’t think the producers listen to much Blondie*. Did the demonstrators think they were making their case against men with machine guns? They are killing people on the streets, unprovoked. What were the protesters hoping to achieve? It’s at this point I start to ask, “Um, why haven’t we left yet? They’re taking our money and curtailing our rights. They opened fire on demonstrators. Is the car gassed up?”

Hang in there, Baby!

Serena arranges to put Offred in a nice bedroom, rather than stay in the “suicide-attic” in which the previous handmaid resided. Offred tells her she’s not pregnant; that she got her period. This infuriates Serena who drags her back to the suicide-attic and throws her on the floor. This is Serena. This is what she is and always will be. In another life, there would be compassion and understanding. Not here. This is a television series that would have to depend considerably upon the concept of “world-building.” That is establishing a world, like a game board, and then putting the players (or pieces) on that board with each new episode accumulating knowledge about that constructed world. The writers ignore the crucial world-building aspect and instead create the players before creating the world, and then expect the audience to play catch-up with their creation. “Late” is the main offender, because the writers believe they are being clever in only letting certain components of that world be revealed at the right time and place, like Lost with it’s frustrating flashback structure that served to mirror current events. We end with a severe close-up of Emily after she is told by Lydia that she won’t want what she cannot have – meaning orgasm from sexual stimulation. She goes from confusion to sadness to anger and finally screaming. Alexis Bledel is truly the unsung hero of this show. Gilmore Girls this is not.

* Where’s Debbie Harry in this world? Good-looking woman, great singer. Is she a Martha in this world? Did she fight the Sons of Jacob? Is she dead? Did she flee to Canada when she saw the troubles? Is she in the Colonies?

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Under the Eye: “Birth Day”

“Birth Day”

“No one can make you feel inferior without your consent.”

Eleanor Roosevelt

June distracts herself during the Ceremony by naming off everything she knows about the color blue. We get into a ponderous tradition very quickly with the show about how swiftly the fascism can pierce us so often and with so much aplomb we scarcely realize we’ve been gushing blood until it’s too late. Offred and Ofglen trade stories about their jobs before the “reconstruction.” Offred was an editor, and Ofglen was a college professor. Offred wants to know why Ofglen knows an about an Eye in her house. During this exchange, and as a church is being bulldozed, they witness a minister being brutalized by two Guardians. I forgot to mention the Guardians. They’re the guys with machine guns whom everyone fears. I don’t understand the minister. Why is there a minister walking around like he owns the street? Why are we destroying churches when the property could be put to good use for something else rattling around in the brains of the Sons of Jacob? This is where the efficiency and economy of Gilead escapes me. Driver Nick reveals himself to be the Eye by stupidly telling her to not get too close to Ofglen. He also tells her the Commander wants to see her in his office later that night. The Birthmobile arrives to escort her to pregnant Ofwarren’s (“One-eyed batshit crazy Janine”) delivery.

“Dear God, make me a bird. So I could fly far. Far far away …”

June reflects on her own delivery of her daughter, Hannah. It became such a momentous event that zealots would pray outside hospitals, and lunatics would try to steal babies. The handmaids tell Ofwarren to “breathe,” “hold,” and “exhale” in unison. Given the circumstances of how rare live and healthy birth must be to this world, research and science should have offered choices. They offer choices even now with no such problems existing. Incentives would be offered to those fertile couples to have children. Health insurance would become a device of the past. When no one was looking, a righteous religious fanaticism was building in the people. How this could easily translate into the humiliation, enslavement, and torture of women is anybody’s guess. When you get to talking about the concept of equality to different people, you’re going to get a handful of different philosophies. Some people confuse equality with superiority. Some people confuse equality with convenience and opportunity. Some people will argue that slavery is a state of mind; that if you believe you are enslaved, then you are enslaved. I feel that the people who write and produce the show don’t quite grasp the concepts of freedom, slavery, and equality; that they’re either parroting the current hot topics and trends or they (or some of their more zealous viewers) want to suffer vicariously with the characters they’ve created.

“But I made up my mind, I’m keeping my baby, oh I’m gonna keep my baby…”

This is a bizarre delivery with a Commander’s wife simulating labor pain as Ofwarren experiences it. The mixed message of rape and the joy of childbirth gives the show an uncomfortable distinction. Knowing what we know of the perceived inequality of women, the obvious social messaging at work in the narrative, and the politics at play, The Handmaid’s Tale treads a fine line between leftist and right-wing dogma. All I can imagine is that women have gone mad in a time where their bodies have betrayed them and refused the purchase of a child that would grow inside them. That’s the only explanation I can muster for their advocacy of Gilead. Did they ever intend to enslave themselves in the bargain? This is not the story of men oppressing and brutalizing women for their own sadistic pleasure. This is the story of women willfully and deliberately participating in their own annihilation. These women do not have agency. This second episode is padded to the breaking point before the viewer realizes there were only perhaps two bits and a flashback. June goes down to the Commander’s private office. I realize the show-runners get their jollies off not revealing anything because they want us, the viewers, to be June. I don’t find the Commander frightening or imposing in any way, and I have reason. He plays Scrabble with her and we have to watch the whole game. No wonder the human race is dying off. The next morning, June discovers Ofglen has been arrested as Simple Minds’ “Don’t You (Forget About Me)” plays. The Breakfast Club this is not.

Under the Eye: “Offred”

“Offred”

Let’s just speculate for a minute. This is our world. This is a world of the Boston Red Sox and Friends on DVD. This is the world of the free press, of Annie Lennox, of Bruce Springsteen, of debit cards, and over-priced soy lattes … but … Our world has gone topsy-turvy. Something has changed, as in all good science fiction. The birth rate has plummeted due to an unexplained crisis. Bible literalists make their move. Through an extraordinary and unrealistic set of circumstances, these people have captured The United States of America. A coordinated series of terrorist attacks has crippled our Lady Liberty and made her impotent. Whomever you are, remember your place in the world when your freedom was deleted. The set-up is astonishing. June (Elisabeth Moss), her baby Hannah, and her husband Luke are running from men with machine guns as they attempt to flee the continental United States. Luke is shot and June and Hannah are captured. Hannah is relocated to a privileged family. June is forced to become a handmaid, the brood mare for a prominent family led by the Commander Waterford (Joseph Fiennes) and his wife, Serena (Yvonne Strahovski). She is given a name: Offred, meaning “of Fred.” The property of Fred.

Get used to shots like these.

All of this would work well if not for the persistent confessional-style voice-over of June. Her purple prose comes across like a 15-year-old’s self-mutilation journal. The handmaids are told by their devoted Aunt Lydia that the “plague” was God’s plan; a response to birth control and abortion, drugs and pre-marital fornication. When Janine mouths off, she gets a cattle-prod to the neck and loses an eye. The handmaids have been selected for their fertility. They are to be “adopted” by the families of the powerful and impregnated by their commanders. Handmaids walk together spouting bizarre platitudes as bodies hang high up from railings. These are the bodies of priests, Jews, and homosexuals. There are men with machine guns behind defensible piles of sandbags awaiting … what? Attack? Attack from handmaids? Attack from enemy forces? It’s hard to believe in this total nightmare dystopia anyone survived the ferocious assault of the Sons of Jacob. That’s what they call themselves. They call the land they have stolen Gilead. The Republic of Gilead. Even though this is not a republic. This is not America. This is occupied land. The people may look like Americans, act and speak like Americans, but they are the Programmed and they intend to program the handmaids. There are cult-like sessions where handmaids are shamed, judged, and punished by their fellow handmaids until they are broken and then re-built into baby-makers.

“Respect the cock and tame the cunt!”

The Ceremony is a stylized ritual of rape. Creepy organ music plays as Waterford reads a passage from the Bible justifying this action. In strict interpretation of the Bible, Jacob had two wives, Rachael and Leah. Jacob loved Rachael more than Leah, so God rewarded Leah by taking away Rachael’s fertility and giving it to Leah. These Sons of Jacob have re-written their Bible so that Rachael instead gives Leah to Jacob as a “handmaid” so she will bear Jacob’s children, hence the Bible Literalists are not so literal with these sticky digressions. As with every cult, they highlight the passages that advocate their beliefs and disregard others, namely the love, mercy, and compassion present in many passages. Unimaginable cruelty is the name of the game in Gilead’s Bible. I say this as a proud atheist: you cannot mock what you don’t understand. Margaret Atwood’s, and by extension, the writers and producers of the series view, of religion (Christianity, in particular) is sadly warped and misguided. I have no doubt there are practices and sub-practices of different denominations that embrace cruelty and violence. We hear of them on occasion, but these are the exceptions and not the rule. At some point in the story, June’s old friend and lesbian, Moira, escapes from the handmaid orientation facility, but we won’t see the circumstances of the escape in this episode. June believes her to be dead.

“Mongo only pawn in game of life.”

The handmaids are gathered in a central meeting place to kill a man accused of rape. They each take turns stomping on him and ripping him to pieces. Why would the handmaids be required to execute this man, if only to make them all complicit in a murder without due process? In a flashback, we see June and Moira in more normal times when June informs her she is pregnant. There is talk of the danger of having children in these times, but there is no talk of the coming onslaught, the dark cloud of Gilead, perhaps because no one could ever believe it would happen. Along the way, June gets little indications that not all the handmaids have been programmed (the “true believers”). Her assigned traveling companion Ofglen (Alexis Bledel) clues her in by revealing her favorite ice cream (salted caramel) is better than sex. It occurs to me the character moments hold together better than the world that is being built. Ofglen informs June there is an “Eye” in her house. An Eye is a spy, a secret agent working for the higher-ups who’s job it is to keep tabs on Commanders, Commander’s wives, and Marthas. Marthas are essentially “the help.” Infertile, older women who cook and clean the palatial homes the Commanders have stolen from their rightful owners. June learns in short order the Commander’s wife, Serena, hates her, presumably for her ability to have children and the jealousy of “sexual contact” with her husband. June tells us she intends to survive for her daughter.

Vintage Cable Box: “The Man Who Knew Too Much, 1956”

“Sorry we were gone so long, but we had to pick up Hank!”

The Man Who Knew Too Much, 1956 (James Stewart), Paramount Pictures

In what may have been (for the time) the boldest examination of American exceptionalism and “xenophobia” (though I hate to bandy that term in the wake of overuse), The Man Who Knew Too Much provides thrills and agonizing suspense. Indiana tourists in Marrakesh witness the murder of an new acquaintance. Before the man expires, he imparts information about a planned assassination of a statesman in London to wide-eyed patriarch James Stewart. In order to keep this revelation a secret, double agents disguised as a British husband and wife abduct Stewart’s (and wife Doris Day’s) young son, Hank.

Fearing reprisal, Jimmy and Doris take it upon themselves to rescue their son without the aid of local authorities. They keep mum on the assassination plot, travel to London (where former singer Day is given a hero’s welcome), and follow up on clues given to Stewart by the dead man. In an amusing twist, Ambrose Chapel is revealed not to be a person, but a place. Stewart causes havoc on the namesake taxidermist, and it takes a while before he can clear up that misunderstanding. Notice how briskly this plot unfolds? We’re in Marrakesh for a little while, and then we’re in England. Stewart and Day next meet up at the chapel where Hank is being held.

The assassination will occur at the clash of symbols during the allegro agitato’s climax of Arthur Benjamin’s Storm Clouds Cantata at the Royal Albert Hall during a performance for the visiting Prime Minister. The Prime Minister is to be the target. Doris Day lets out a blood-curdling scream that distracts the would-be killer and alerts the audience to the situation. Later, she uses her showcase song, “Que Sera, Sera (Whatever Will Be, Will Be)” (introduced in this movie), to let Hank know she and his father are nearby. Jimmy and Doris find themselves to be reluctant heroes in a story of political intrigue, and that’s what makes The Man Who Knew Too Much an incredibly fun movie to watch.

What is most intriguing about The Man Who Knew Too Much are the unusual character motivations at play. Even before the thrills begin, Doris Day’s character is revealed to be paranoid (she’s always commenting on curious onlookers) and somewhat insecure in her decision to marry a doctor, though she does want to have another baby. Jimmy Stewart’s character seems to have little patience or respect for cultures and practices outside of his perceived friendly and familiar American traditions (his adventure in a Marrakesh restaurant is particular cringe-worthy). British and Moroccan law enforcement is portrayed as downright lackadaisical, inefficient, and incompetent.

Between the years 1954 and 1956, Alfred Hitchcock made two movies per year; an incredible body of work from Dial M for Murder to The Wrong Man. After this highly energetic, creative period, he would begin to slow, averaging one movie every year until 1960’s Psycho (his most commercially-successful film) and the resulting cloud of notoriety that would dog his steps until his death in 1980. Because of Psycho, Hitchcock’s name would become synonymous with psychological horror and shock. He attempted to revise his legacy with an old-fashioned monster movie in The Birds (1963), and another case study of neurosis with Marnie (1964) before returning to political intrigue and espionage with Torn Curtain and Topaz, but none of these films would equal the financial and critical success of Psycho. In a way, he was consumed by his own success.

That about does it for Alfred Hitchcock month. The five “missing Hitchcocks” were re-released to theaters starting in October of 1983. The next year, the movies made their premieres on cable television as part of a Hitchcock retrospective on The Movie Channel. This was my Hitchcock education for a time until home media increased his popularity even more. For more fun stuff about Hitchcock, check out the “Missing Hitchcocks” episode of my podcast, Two Davids Walk Into A Bar, as well as David & David and Gene & Roger: A Siskel & Ebert Podcast.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird).  We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images.  We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates.  About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties. 

Extreme Cinema! “Lazarus Has Risen”

Oh my goodness! What are we doing here? Fifteen episodes in, and we’re at a season finale that brings us to William Friedkin. As brilliant a filmmaker he could be, he chose to spend an enormous amount of money (for the time) with Sorceror. Ambitious, beautifully shot, and nearly unmarketable, Sorceror would’ve ruined big budget cinema had it not been for the little engine that could called Star Wars (made for half of Sorceror’s budget, and for which Friedkin would blame Sorceror’s failure). Rampage, made in 1987, suffered from the failure of Dino De Laurentiis and DEG. To Live and Die in LA, while not an enormous hit, proved inspirational and influential in the late ’80’s and early ’90s glut of crime/drama action thrillers. Jade? Well. Jade’s another story. We’ll see you in November!

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs.
Artwork by Bronwyn Knox.
Head Title Washer: Ben Lauter.

Running Time: 1:39:56

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. We do this ’cause it’s fun, and nothing else.

Extreme Cinema! “Is It Safe?”

Would ya do me a kindness? Don’t slam the fuckin’ door!

So, we usually talk about movie directors on the fringe with their respective peers. The first episode we recorded was about the deceased David A. Prior, low-to-no budget filmmaker, Deadly Prey and The Deadliest Prey. Fred Olen Ray, Mark Goldblatt, Rowdy Herrington. Tonight, we’re talking about an Academy-fuck-Award winner, John Schlesinger. Midnight Cowboy. Billy Liar. Far from the Madding Crowd. Sunday Bloody Sunday, and the four movies we’ll talk about tonight. I think we both agreed on Schlesinger because you put forth Eye for an Eye as a prime example of exploitation film-making. Upon further analysis, we saw a very eclectic, unusual, iconoclastic film-making career. Mr. Schlesinger passed away July, 2003, but his work remains for us to dissect. He truly was a maverick film director, along the lines of a Sam Peckinpah or a Bernard Rose.

We were messaging the other day and you wrote something interesting: “Schlesinger reminds me of another director we’ve always kind of made fun of…a guy with very few (if any) common threads among a varied body of work, with some ‘classics’ under his belt and a bunch of mediocre warmed over, but technically competent other stuff.

Let’s get to know the man, and we’ll start with Marathon Man from 1976.

“Why don’t you just try acting?”

Marathon Man is famous in acting circles for an often quoted and misquoted exchange between Hoffman and Olivier concerning a perceived difference in their approaches to acting. Hoffman later set the record straight in a retrospective interview, explaining:

“When we got back to Los Angeles [Olivier] said, ‘How did your week go, dear boy?’ And I told him we did this scene where the character I was playing was supposed to be up for three days. He says, ‘So what did you do?’ I say, ‘Well I stayed up for three days and three nights.’ And [Olivier’s] famous line was, ‘Why don’t you just try acting?’ … It became kind of legend. It’s been quoted so many times, at least in the acting circles. And the truth is I was the first one to quote that line … They leave out the reality and just put in what feels more provocative or a better story. And what accompanied him saying ‘Why don’t you just try acting?’ … He laughed, because he said, you know, “I’m one to talk.” And then he was actually the first one that told me about risking his life every night jumping whatever it was twenty feet in the last act of Hamlet. And the truth of it is I didn’t just stay up three days and three nights for the scene; it was a good excuse, because these were the days of wine and roses in Studio 54″.
— Hoffman, Dustin (Actor). Marathon Man (DVD).

Moving on to 1996’s Eye for an Eye starring Sally Field, Ed Harris, and Kiefer Sutherland.  Ed Harris and Sally Field were both in Places in the Heart. Nice to see Beverly D’Angelo, who was also in Pacific Heights, directed by Schlesinger. So far, scenes of a bucolic life with twinkly music. I get the feeling this is going to be bad.  This is a bit much. Sally’s daughter is being attacked while on the phone with her mother. We can’t get a good look at the attacker. We have a big panic situation, much like Marathon Man. This is effective but weird. Here we have an ice sculpture killing a woman instead of a coffee machine. They should really outlaw these things!

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs.
Artwork by Bronwyn Knox.
Head Title Washer: Ben Lauter.

Running Time: 1:36:46

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. We do this ’cause it’s fun, and nothing else.

 

Extreme Cinema! “Don’t Use the Same Gun Twice”

Alternate Title: “McNaughton by Nature”

Here we are again, nauseating you with another episode of Extreme Cinema – Action and Exploitation movies with Andrew La Ganke and David Lawler. Tonight, my stars, but we have two movies directed by John McNaughton, Welcome Home, Roxy Carmichael and How to Make an American Quilt … just joking, folks, Henry: Portrait of a Serial Killer and The Borrower.

Did you know that this movie, Henry: Portrait of a Serial Killer, still plays in theaters?  A quick check on the Googles reveals the Landmark Sunshine Cinema shows the movie; it’s essentially a midnight movie these days, but it still plays in theaters.  The only other film out there that continues to generate this much of an insane midnight movie cult following is, of course, The Sisterhood of the Traveling Pants – just kidding.  A few episodes of Extreme Cinema back, I mentioned how this is a movie I could never recommend to anybody for fear of getting funny looks from people for the rest of my life; it’s right up there with The Devil’s Rejects, both of these movies, for me, are insanely well-made but they’re extremely hard to get through (for different reasons).  Movies can be excellent, yet almost unwatchable.  

The Borrower is a bizarre movie. I remember first seeing it, chopped to hell and back on the Sci-Fi channel a while back. I think I even saw it before I saw Henry. My mother actually says to me, “Davey, I saw this movie, it was absolutely disgusting, but it was great! You would love it. It’s called The Borrower.” This was back when she liked horror and science fiction. Along with cable tv, and Danny Peary, and Roger Ebert, and my Aunt Marlene, she got me into movies in a big way. We did Jack Sholder last time, and you described The Hidden as being one of the better Terminator rip-offs. I suppose The Borrower fits into that sub-genre, right? The first thing we see is an alien criminal, who is told by a hilarious-looking creature with a voice modulator that he is being sent to Earth as punishment for his crimes, instead of summary execution (which we’re led to believe is somehow more merciful). We see Tom Towles again, this time as another white trash drifter. Is that a potato gun he’s holding? The alien criminal appears, punches Tom (sends him some 20 feet), and then the alien’s head explodes, which is completely normal. The headless alien removes (or “borrows”, as the case may be) Tom’s head and puts it on his shoulders.

Written by David Lawler and Andrew La Ganke.
“Love Theme from Extreme Cinema” composed and performed by Alex Saltz.
Introduction written by Bronwyn Knox.
Narrator, “The Voice”: Valerie Sachs.
Artwork by Bronwyn Knox.
Head Title Washer: Ben Lauter.

Running Time: 1:36:46

Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All music clips appear under Fair Use as well. If you’re thinking of suing because you want a piece of the pie, please remember, there is no actual pie. We at BlissVille have no money, and as such, cannot compensate you. If anything, we’re doing you a favor, so please be kind. W do this ’cause it’s fun, and nothing else.