Archive for the ‘1970s cult cinema’ Category

FOOLIN’ AROUND

August 30, 2008

(USA, 1980, Richard T. Heffron)

FOOLIN' AROUND

Made in the wake of his Oscar nominated performance in THE BUDDY HOLLY STORY, FOOLIN’ AROUND is an interesting curiosity: a film with Gary Busey in the lead. The film’s box office failure may serve to explain why Busey was soon relegated back to supporting parts (the film was released the same year he starred as a psychotic clown opposite Jodie Foster and the Band’s Robbie Robertson in the even more curious CARNY). The man best known for his star turn as Buddy Holly, his defiance of motorcycle helmet laws, and for being a general lunatic (who once snorted cocaine off of his dog) stars as a hard-working rural Okie named Wes. Wes heads to college up north and promptly falls for the beautiful heiress on campus (Annette O’Toole) who, predictably, is already engaged to be married to some rich asshole.

While the premise is hackneyed, the execution is strictly by-the-books. The film’s charm rests solely on Busey’s performance. His idiosyncratic quirkiness and easygoing goofiness is so ideally suited to play the lead in a romantic comedy that it’s a shame this is the only one he made. FOOLIN’ AROUND never takes itself too seriously, but its broad physical comedy and sitcom-style antics is more slapstick than screwball (lots of pratfalls, mishaps and a few too many getting-hit-in-the-balls jokes). A suitably ridiculous finale (involving a wiener mobile chase and a hanglider) plays like the THE GRADUATE on LSD. Seals and Crofts provide the yacht rock soundtrack, and a young William H. Macy, in one of his first film appearances, pops up as a book salesman.

THE TERMINAL MAN: the best Michael Crichton adaptation

August 29, 2008

(USA, 1974, Mike Hodges)

TERMINAL MAN

GET CARTER’s Mike Hodges produced, directed, and adapted for the screen this clinical sci-fi thriller based on the novel by Michael Crichton. THE TERMINAL MAN was an odd career move for Hodges, and, after this one flopped, he wouldn’t turn up again until six years later with the even more inexplicable FLASH GORDON (in the interim he was fired from DAMIEN: OMEN II). Though the film pales in comparison with his masterpiece GET CARTER, Hodges’s direction is absolutely brilliant and helps transcend the routine source material. Like almost all films based on Michael Crichton novels, THE TERMINAL MAN suffers from its source, but this is without a doubt the best adaptation of his work (I find both WESTWORLD and THE ANDROMEDA STRAIN grossly overrated). Sadly, it’s also one of his least known. 

THE TERMINAL MAN is one of the rarest things — a genuine Hollywood art film. It’s also one of the coldest and most unfeeling studio films this side of Kubrick, with a slow, creeping sense of horror reminiscent of both 2001 and THE SHINING. It’s a work of science-phobia where a brilliant computer scientist gets a microcomputer implanted into his brain to prevent the violent seizures he is suffering from as a result of a head injury. Needless to say, things go horribly awry and the cure is worse than the disease. While, like all of Crichton’s work, plot development is clearly signposted, Hodges defiantly eschews audience expectations. This may be why critical consensus labeled the film dull. Instead of a standard thriller, Hodges is more interested in creating a dystopian near future through a heavily stylized atmosphere that is so deliberately stilted that it is practically suffocating. Every shot is off-centered and oddly-framed on incredibly stark, white sets. With the notable exception of CALIFORNIA SPLIT, I’ve never been too impressed by George Segal, but as the lead, he gives a fantastic performance. An underrated film that as of the present date still hasn’t seen the light of day of DVD.