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.

 

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Vintage Cable Box: Kiss Me Goodbye, 1982

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“In a healthy marriage, fear should be equal.”

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Kiss Me Goodbye, 1982 (Sally Field), 20th Century Fox

I’ve developed a theory that movies (of all kinds) made at a certain time were just plain better than anything being made today. My advanced years create a cloud of media-oriented snobbery; so much that even something as light-hearted and innocent as 1982’s Kiss Me Goodbye plays so much fresher and spirited than romantic comedy fare being produced these days. Even Dusty Springfield’s corny theme song evokes a pleasant mood in me. Sally Field and Jeff Bridges are reunited (from Bob Rafelson’s brilliant 1976 Stay Hungry) as a soon-to-be-married couple returning to the house Sally shared with her deceased dancing-star husband, Jolly (an atypically vibrant James Caan) to start a new life. It isn’t long before Sally starts to remember the adventure of being married to such a ridiculously talented man she still obviously loves.

Jeff Bridges’ Rupert is a stuck-up yuppie type (a “nerd” as her mother and Jolly describe him) who pushes Sally’s Kay to get on with her life. If only she could. She sees Jolly everywhere she goes. The house she claims Jolly didn’t much care for is imbued with his presence and his personality, and soon enough Jolly appears to her in the form of a ghost. Is this simply a charming romantic comedy of errors in which a woman has to negotiate the spirit of her dead husband, or is it a deep-seated cry for psychological help? I know, I know! We’re not supposed to ask questions like that. Kay appeals to Rupert to move into the house. He seems more interested in selling it. This is a gorgeous New York City townhouse, and probably worth a ton, but it has sentimental value for Kay.

Rupert is obviously telegraphed to be the heavy, though we can’t blame him his jealousy. He has his own life he wants to share with Kay, and is bored with stories of the famous (and much loved) Jolly. As with most (if not all) of her movies, I find myself falling in love with Sally Field. She’s an extraordinary actress who can give us a character completely with a single expression on her face. Would she have a career starting out today? Most actresses working today that would play a similar role to this are too devastatingly gorgeous to be taken seriously, but here we believe her innocence, her vulnerability, and her intelligence. Bridges proves (as he did with 1978’s Somebody Killed Her Husband) that he can handle comedy with cynical aplomb. James Caan, in later interviews and citing friction with director Robert Mulligan, would claim making this film was one of the more miserable experiences of his life and he stopped acting for five years.

Even in fantasy, there can be logical pitfalls, but we have to get back to the psychological question:  Is Kay out of her mind?  Is this is a Jungian riddle?  I have to wonder if Kay doesn’t want to let this part of her life be erased, and she suffers from identity crisis personified by the ghost of her dead husband.  I know there are people in my life who seemed to have disappeared, who won’t come back no matter how much I wish it, and then I begin to understand that those people (in a rare bit of constructive solipsism) were what represented me in a certain time and place.  I can tell you about my best friends from thirty years ago by telling you about what kind of a person I was at that time.  They disappear like the last page of a chapter you were reading in a book, and then you turn the page and begin a new chapter in your life.  Wow.  This review of Kiss Me Goodbye suddenly got deep, didn’t it?

While Jolly appears to goad Kay into telling him she still loves him (which seems foolish – why would a g-g-ghost care?) as well as interrupting intimate moments between the lovers, Rupert with Kay’s loved ones begin to suspect she is losing her mind, so Rupert plans a half-assed exorcism.  The movie goes off the rails for a time before we come to the conclusion this was actually a very sad love story.  Once Jolly gets it into his non-corporeal head Kay will be happy, he moves on to the next life to take up residence with Patrick Swayze, Geena Davis and Alec Baldwin, Casper, and any other number of friendly ghosts.  Kiss Me Goodbye is a dumb, romantically spiritual comedy, but it is great fun with loads of charm to spare that makes me realize how much I hate to say goodbye.

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.

New Episode! “The White Album, Disc Two”

Disc-Two

Blind Dog, Blind Cat : Tribulus terrestris : And The Oscar Goes Too… :
Driving in the Snow : My Mama Said
Birthdays and Star Wars : Healthcare and Taxes
Hillary Clinton and Donald Trump : English Berry Trifle

“Martha My Dear” Perfect Piano Intro Tutorial by Christopher Stovakovic from YouTube (Lennon/McCartney), Sally Field winning an Oscar® for “Places in the Heart”, “Sexy Sadie” by pianojohn113 from YouTube (Lennon/McCartney), “Good Night” (Lennon/McCartney) by Linda Ronstadt