CMT - 3 Days of the Condor

I’ve written about movies straying, from the original source material and how that irks me. What I’ve failed to note however, is the fact that they’re almost forced to. As powerful as they are, films are very limited in scope. They only have so much time, to get the point across.

Classic Movie Trailers: 3 Days of The Condor (1975)

The average running time of a motion picture, is one hundred and twenty minutes; that’s two hours. Think about the time that you’ve spent, pouring over your favorite book, or watching your favorite TV show. When you sit in the theater however, you want a much shorter experience; so the production should quickly provide you, with a beginning, middle and end, before sending you on your way.

Remember, there are no serials anymore. You’re not going to be presented with a cliffhanger, to try to hook you into coming back next week. They might try to hook you into a sequel, by not providing you with a suitable ending, but that’s a subject for another essay, at another time. The point is, you should be leaving the theater with a complete story, not just a piece of it,

Unfortunately, when the movie you’re watching, is an adaptation of a novel, you run the risk of doing just that. You might also find, that you’re still confused, walking into the parking lot. I wasn’t quite there, at the end of “3 Days of the Condor”, but I did feel like I got a slice, of a much bigger pie. It was, in fact, a piece of a larger whole; they did a good job of hiding it, for the most part, but I ultimately thought, that the script could have been simplified.

What happens when you’re reading a novel, and you lose track of who is who? Well, I imagine that you can go back and clarify some things. You might also give the story a rest for a while, and come back to it later. Similarly, you could stop and rewind the DVD or Blu-Ray; I don’t know how many of us do that, but the option is there. At the show however, you can’t even pause.

A common thing, that film interpretations will do, is they’ll combine characters. If they choose not to do that, they run the risk of overwhelming you, with too many faces. The more actors they add, the less time each one of them has on screen, to connect with you. After watching this movie, I felt I knew Robert Redford and Faye Dunaway’s characters, but Max von Sydow, was the only antagonist I had a read on.

I think it was, a little bit of a missed opportunity. This is the kind of movie, that makes you want to go into work and smack your boss around. After that, you might walk into the CEO’s office, and punch him in the nose. It’s that kind of a rousing experience, but It lost some of that power, when I didn't recognize a face onscreen.

The wonderful thing about movies, is that they’re brief. The stories on film are simple and narrow, while novels have the time, to go wide and be detailed. That isn’t to say, that “3 Days of The Condor”, is a bad movie; it's very enjoyable. There's action, intrigue, and a star-studded cast in the film, which does a wonderful job. Unfortunately, we aren’t given sufficient time to enjoy all of them, or to appreciate the depth of the conspiracy.

Trailer Here

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See “3 Days of The Condor” on www.netflix.com !

CMT – The Fifth Element

Casting is an art form of its own. The goal should be to assemble a mosaic of talent, to create a unique tapestry which could only be made by that group. “The Fifth Element”, set out to take its audience on a specific kind of ride; it wanted to be camp, it wanted to be lighthearted and fun, but it wanted to deliver somber moments and action in the Science Fiction genre.  Fortunately, the collection of actors chosen for the task, was for lack of a better word, perfect.

Classic Movie Trailers – The Fifth Element (1997)

Imagine that every movie you’ve ever seen, exists on a scale regarding the mood, or tone that it tries to achieve. Just saying that a film is camp is somewhat of an oversimplification. With comedy and tragedy being at the opposite ends of the spectrum, movies like this are in the middle, but where they are exactly is up to interpretation. Naturally, some films are going to cover more serious subjects than their peers.

This one gets pretty dark at times. You can count the grim scenes on two or three fingers, but they’re there. Regardless of that fact, this a comic book on the screen and not a graphic novel, so you need someone that’s going to emphasize the absurdity. That all important job went to Chris Tucker, who was ceremoniously awarded with a wig and a dress.

I know of no other comedian, actor or person that could've filled those high-heeled shoes. In the middle of a tense moment, when lives are on the line and people are terrified, all you need is a high pitched cry from Tucker, to get the chuckles coming in from the audience. As Ruby Rhod he’s animated, flashy, overdramatic and hilarious. If Prince was a Howard Stern-level shock jock, he’d have met his match here, in this performance.

With the comic relief in capable hands, the most complimentary item to offer is a straight man.  Preferably, it should be someone with a measured, wry delivery. For a movie like this, a man that looks competent in action and comfortable with weapons, would be the ideal choice. He’d also need to be likeable enough, to carry the bulk of the film on his shoulders.

Perhaps the script was sold with Willis in mind. Perhaps the production was funded, with him attached. Whatever the rhyme or reason why he got involved, I’d argue that there was no other star at that time, more suited for the role. The hero needed to face seemingly impossible odds, accept a ridiculous situation as truth and come out smiling. Bruce proved he could do that in “Die Hard”, so casting him here was an obvious choice.

As for Milla Jovovich, I hadn’t seen her work before this debuted. After watching her here however, I was instantly a fan. I think it’s important to note, that her athleticism only helped to portray her character. It was that talent, which she showed here, that was used to lead the “Resident Evil” movies a few years later. It’s no small remark to say however, that in this one she stood beside seasoned actors, like Willis, Ian Holm and Gary Oldman, without being left far behind.

Movies are, by necessity, a collaboration. No matter what you’re trying to achieve, who you enlist to reach that goal can help you or hurt you. "The Fifth Element" is a textbook example, of what happens when the casting director steps up to bat and hits the ball out of the park, every single time. Whatever it cost, to bring this group together, was more than worth it.

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CMT - Hellraiser (1987)

What does a demon look like? Put aside for a moment, the question of their existence and focus on the image of them. Perhaps what you see in your mind, is a devilish figure with dragon wings, horns and a tail. It might also have hooves and red skin.

That particular concept, dates back to around the fourth century of the Current Era, or the fourth century AD in the Gregorian calendar. More specifically, it came after the Edict of Thessalonica, when Constantine the Great made Catholicism, the official religion of The Roman Empire. So much time has passed, since those first paintings were created, that the physical attributes of demons or devils, are now a part of popular culture. Other concepts, that should awaken your mind’s eye, include gargoyles, leprechauns, fairies, elves and dwarves.

Elves especially, have been a staple of fantasy fiction for years. This is largely due, to J. R. R. Tolkien’s “The Lord of the Rings”, which was published in 1954. We’ve become so accustomed to their “leaf shaped ears”, we take them and their presence for granted, in our entertainment. What’s wonderful about fiction however, is its ability to go against convention and spread new concepts, to excite our imaginations.

Classic Movie Trailers – Hellraiser (1987)

Hell and its description, is more than just a religious tenet. It is something so engrained in popular culture, that it’s familiar to non-Christians as well. The fiery pit strikes a familiar chord, among all of us. There is an association that is immediate; it links the word, the properties of the place and evil itself.

This picture never states, that the doors that are opened lead to the Biblical Hell, but they certainly lead to the mind of the director. What he shows us in this film, is a reality I never want to find myself in. Personally, I think that looking onto the stage, which Clive Barker has created here, reveals something more terrifying, than you will see or hear of anywhere else. This is a world that’s so pervasive, that it spread over eight different sequels.

What was released that year in 1987, was so chilling, it carved its own place into our culture. You can say “Hellraiser”, and there is an immediate association, linking the word, the images and the contents therein. Unfortunately for the series, I believe that it so shocked the audience, it drove away a lot of potential patrons. As much as I’d never want to live in Barker’s story, there are others that would like to view it, even less.

Among the famous horror franchises, the Hellraiser films rank dead last in earnings. It’s far behind the ones starring Chucky, Leatherface, Michael Myers, Freddy and Jason. That isn’t to say that Pinhead isn’t as scary as those figures. I think instead, that the place he shows us, is that much worse.

Granted, the film had a meager budget, of only one million dollars. In addition to that, the effects of the time were limited, by the technology of that era. There is a disillusion that happens today, when you look at certain things in the movie, including the animatronics. It’s like bad CGI, which takes you out of the experience for a while.

Clive’s resources, were still sufficient enough however, to leave a lasting impression. Just the word “hell”, is a reason for movie theatres, to choose another release. “Hellraiser” itself, turns mutilation and torture into an art form. It isn’t a surprise, why it couldn’t hold on to a more mainstream audience.

Still, what has been accomplished is, and may yet be, phenomenal. The audiovisual nature of film, gives it a resonance shared, by no other form of non-interactive entertainment. Reading words on a page can be a powerful experience; seeing images placed with them, as in graphic novels, can also be memorable. Motion pictures however, root farther down into our psyches. Many books have described many properties, but if a movie takes up the same subjects, it defines them in spite of the books.

Imagine then, what happens when a film defies convention. What happens when a movie takes well established concepts, and presents them in ways we don’t expect? Well I believe the answer is a movement, an idea that can spread and cement itself, to become more than fiction, but a modern mythology. You should consider for a moment, how horrifying that actually is.

 

Trailer Here

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CMT - RoboCop ('87)

A lot of emphasis is placed on how films look. Critics and pundits, will often examine the artistic influences that movies draw from, to create their visuals. From there, the discussion may turn to costume and set designs, or framing and cinematography. Taking into account that orientation of thought, it’s easy to understand why the other half of the equation, is given the deaf ear.

The majority of the cinema audience, never sits down to simply watch a picture; they sit down to watch and listen to it. We don’t go to see the movies, we go to see and hear them, and that distinction is very important. Anyone that listens to books on tape, or dramatic readings, can tell you that audio is capable, of presenting a complete story on its own. Pictures however, require aid.

The tracks that we enjoy are so underappreciated, unexplained and taken for granted, that we hardly realize their power. The very life of a film in fact, is entirely dependent upon them. Without sound effects, dialogue and score, moving images lose most of their appeal. “RoboCop” specifically, is so indebted to its sound design, the production would have been forgettable, if just the effects were missing.

Classic Movie Trailers – RoboCop (1987)

Peter Weller was not hired, to pilot a mechanical suit. When he walked onto the set, he wasn’t wearing armor, or even a single piece of metal. The original RoboCop costume was made from rubber, plastic and fiberglass. If you listen to the track however, your ears will tell you that what’s inside the suit, isn’t entirely human.

You’ll also be convinced, of an immense weight and presence, with every footfall. The experience of watching “RoboCop”, is one that was manufactured in a studio, with machines you’re not supposed to acknowledge. That equipment wasn’t placed in front of the camera, or advertised, but it was obviously entrusted to some very talented people. The magic they produced behind the scenes, especially their sounds of servomotors, kept the hero from looking like a laughable mime.

The audio in this film, is essential to allowing the audience, to suspend disbelief. The sound is the storyteller, though that fact isn’t widely acknowledged. In addition, the track behind “RoboCop” is a very distinct signature, which sets it apart. The gun the protagonist uses, is distinguishable from every other firearm, I’ve ever heard in a movie.

  

Human nature is to blame, for the dominance of sight over our other senses. That isn’t to say however, that we wouldn’t miss hearing our environment, as well as listening to our entertainment. It’s just that we seldom realize the work, and the artistry behind the information, we enjoy with our ears. A door slams, a woman walks away, a bell rings and a gun fires, but we don’t consider that most of those inclusions to the audio file, were not actually recorded on the set.

“RoboCop” is a reminder, that movies are audiovisual experiences. I think it’s important to note, that the audio precedes the visual in that word, for good reason. If we considered closing our eyes and muting the images, we would we still walk away from this film, with absolutely everything we needed to know. The pictures are just the icing on the cake.

Trailer Here

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