Greetings, mi gente. Nice to see you all again. As we continue our slog through 2021, I found myself inspired by the idea of scandals and controversy. Sex, religion, racism, we seem not to be able to resolve any of our isms. Instead, we keep weaponizing them to devastating effect. At least we still have art to illuminate the darkest corners of our psyche to question and, hopefully, impact how we choose to view each other once we strip away the idea of “The Other.” That’s why I’m recommending this next group of film titles for the Carreón Cinema Club: The “It’s A Scandal” Edition.
Each movie listed here courted a wave of controversy when initially released. Audiences were either titillated, appalled, or couldn’t be bothered. Some of these films were not significant hits in their original years of release. More, they haven’t aged well or find themselves mired in more robust controversy in this era of political awakenings. Context is key when viewing these titles, which is why I think they are worthy of not being dismissed with nary a reason beyond, “It makes me uncomfortable” or “That’s wrong!” The Club is now in session.
Directed by Roy Rowland
Written by Jerome Weidman
Starring: Van Johnson, Ann Blyth
Streaming: TCM (until July 28)
If you think TMZ is a media scourge, your delicate sensibilities couldn’t survive the likes of Confidential Magazine. Considered a “pioneer in scandal, gossip, and exposé journalism,” as labeled by Wikipedia, Confidential made its yellow-hued debut in 1952. At its most popular, the magazine earned a circulation of five million copies per issue, surpassing Reader’s Digest, the Saturday Evening Post, Ladies Home Journal, and other leading, respectable publications of the decade. Scandals would eventually topple this dreadful rag, but its audience’s voracious appetite for its “stories” about Hollywood’s leading players at their weakest and most vulnerable, true or not, were devoured with bloodlust.
You’ll only need to read between the lines when watching Slander, which chronicles the life of a kids’ TV Show star Scott Martin, portrayed by Van Johnson. When the fictional periodical “The Real Truth” wreaks awful havoc on his life after refusing to corroborate an incendiary story on a popular actress, the collateral damage is swift. Outed for being a felon at the age of 19, the resulting judgment on Martin by the public breaks up his marriage and torpedoes his career. Here’s a clip featuring the great Ann Blyth as Martin’s beleaguered wife Connie and Steve Cochran as “The Real Truth’s” self-righteous and arrogant editor H.R. Manley.
Subtlety is not director-for-hire Roy Rowland’s strongest suit, with the melodrama and rather cliched dialogue marooning most of the cast, save for Cochran, who excels as the film’s villain. Slander rarely rises above its TV movie treatment, but it makes its point like a sledgehammer when Martin’s young son is struck and killed by a passing car after being bullied by his classmates about his dad’s criminal past.
Slander’s bravado finish with Johnson’s “on the nose” plea to a voracious public to stop consuming “The Real Truth” seems too good to be true, and it is. Imagine anyone saying on Jimmy Kimmel or CNN to the public, “Now that they’ve seen the extent of its power to destroy the innocent and not-so-innocent, stop your intake of gossip and reality garbage.” People would switch it off or swipe it away.
Although the outcome for editor Manley is too fantastic to spoil, it’s almost worth the entire movie. Almost. As for how Slander fared in its day. Well, audiences seemed to have preferred the pages of Confidential, with Slander proving to be a box office bomb for MGM. Johnson himself would be at the center of a scandal when a tell-all book written by his son revealed he’d left his wife for another man. Only in Hollywood, kids, only in Hollywood.
Directed and written by William Friedkin
Starring: Al Pacino, Paul Sorvino, Karen Allen
Rent: Amazon Prime, Apple TV+
The scorched earth of the 1970s left plenty of burning embers to ignite the start of the 1980s. With gender and sexual equality, rising conservatism, and extreme violence impacting mainstream entertainment, it is no coincidence that two erotic thrillers would reach cinemas with a resounding wail of controversy upon release in 1980. And both dealt with the LGBTQ+ communities, an evolving and powerful voice determined to right the wrongs perpetrated in society.
While it possesses considerable artistic and thematic strengths, Brian De Palma’s Dressed to Kill earned hackles for its depiction of cross-dressing. His turning a trans character into a vicious slasher movie trope offered little context or catharsis, only lurid violence. William Friedkin’s Cruising delivered that film year was something akin to a cultural firebomb, even before the production wrapped principal photography.
Within the confines of its standard-issue “serial killer on the loose in the big city” plot is an unflinching look at New York’s gay subcultures. Without question, the film is most urgent at night, where Al Pacino, as an undercover cop, roams the Leather/BDSM bars in the Meatpacking district in search of a murderer.
Thanks to Friedkin’s direction and Pacino’s controlled performance, Cruising rises above its cliched plot of crooked cops and an overburdened detective force bullied into solving the crimes before they ignite a political firestorm, just like in real life. The neighborhood where Cruising filmed did not take kindly to the project, with locals and activist groups disrupting production. Once finished, due to its candid depiction of gay sexuality, the MPAA demanded 40-minutes of cuts to reverse its original X-rating. The controversies endure with film historians and gay leaders lambasting Cruising’s linking violence with illicit sexuality, a gross judgment on queer life.
Seeking to counter the protests, Friedkin offered the following disclaimer at the film’s opening, “This film is not intended as an indictment of the homosexual world. It is set in one small segment of that world, which is not meant to be representative of the whole.”
It did little to mollify the objections to the film, which remain justified. The equation of gay sex with isolation, brutality, and murder permeates the movie because it does little to understand any of the motivations involved with the crimes. Few positive images materialize, and even those meet destruction by the film’s end. More, Pacino’s character seems to establish a connection with his gay self, but it is merely hinted at and not explored further.
We can argue the artistic merits of Cruising, but you cannot deny that the cameras did not shy away from the black and blue aesthetic of leather and BDSM culture. The result is a fearless time capsule of a culture embraced by many practitioners of this form of sexual expression. The film may focus on a youthful Pacino and the ensemble cast. Still, the background is where subversion exists, depicting queer culture and sexuality, breathtakingly and unexpectedly.
So why champion the film at all?
It’s a film history lesson that retains its power to illuminate and inspire a more explicit, honest discussion on how not to relegate sex and sexuality into something negative. Again, how else can we begin to improve the future without looking at the past? Cancel culture vultures need not apply.
SONG OF THE SOUTH (1946)
Directed by Harve Foster, Wilfred Jackson
Screenplay by Dalton Raymond, Maurice Rapf, and Morton Grant
Starring: Luana Patten, Bobby Driscoll, Ruth Warrick, James Baskett, and Hattie McDaniel
Finally, let’s talk about the nadir of Disney’s sometimes color-blind and tone-deaf oeuvre, perhaps the one film that may never see the light again by an audience outside academia. Based on the equally controversial Uncle Remus stories compiled by Joel Chandler Harris, you can see what inspired Disney to turn these moral fables into a major film. Unfortunately, the Mouse House decided to keep their animated musical in Harris’s chosen dialect for African-Americans featured in his work. The sounds are shocking, even by today’s standards.
Southern author Harris did not escape criticism with the original text, so why did Disney keep the same framing devices without contemplating the consequences? Several writers were part of the project, some recognizing and seeking to remedy the issues with the property, but the inherent problem remains. Despite its tuneful soundtrack and candy-hued visuals, the racial stereotyping depicted in the film is still difficult to accept today. The film industry, seeking a means to appease a justifiably angry NAACP, bestowed an honorary Oscar to actor James Baskett, who played Uncle Remus in the film. While Baskett may have been the first black male actor to win an Academy Award, it is essential to note that he couldn’t attend the 1946 premiere in segregated Atlanta.
If it is so venal, why should Song of the South even be viewed again? Quite frankly, it exemplifies what cancel culture does to our collective past. This lobotomy or erasure of art representing our worst selves does not magically clear our name as a flawed species. We are missing a chance to educate ourselves on how to make things better. What is missing in today’s “woke” discourse about art in the past is context. To understand where we want to go as a society, we must look back to see where we’ve been first. We need to give these examples their due and proper context as to WHY they are not images we need to repeat or reimagine.
It is your decision as to what you can accept in terms of the topics raised by the films. Have an open mind and question how these films can still fit in our worlds. Either way, I welcome your opinions. Until the Club meets again, stay safe and healthy, mis amigos.
We can spend a whole lifetime debating why some films connect with an audience while others remain left out in the cold. Yet, many titles endure as favorites, good or bad, and often for surprisingly personal reasons. That’s the focus of this edition of the Carreón Cinema Club: The “Films That Make You Go Hmm!”
When I started mulling over this episode’s topic, it was hard not to focus on just flops with cult followings. Every movie fan has a list of guilty pleasures, including box office monsters or monster flops. I’m notorious for not being able to differentiate between either. My good may be your bad, and vice versa. Besides, anyone who’s been on a set knows that it takes the same amount of effort to make a good film as it does a bad one. What kickstarted my engines to hit overdrive was a simple question: What is it about certain movies that straddle both lines of success and failure, the ones you wonder, “Was that the best they could do?” Those are the films that make you go Hmm. Depending on your tastes, any list can be chock full of surprises, but I’m only going to offer up three titles for now. Ready? Here we go!
FATAL ATTRACTION (1987) — Directed by Adrian Lyne
I will never forget the eager audience at the Mann Bruin in Westwood, CA, the night Fatal Attraction opened in 1987. You could feel the anticipation growing as the lights went down, and the trailers started playing. Blood was in the air. We wanted to see a crazy Glenn Close in action. What makes this significant is that the group excitement was driven only by TV spots and word of mouth. Before reality shows, recap culture, and the vast network of trash-talking platforms overtook all media coverage. The audience took pleasure that night in ’87, gaping at director Adrian Lyne’s ability to present a chic, upper West Side veneer of gloss and privilege sullied by curly haired madness and one, crowd-pleasing gunshot at the bitter end. It was like the opera diva hit a high note; the applause was deafening.
Fatal Attraction was a zeitgeist hit, its vision of infidelity gone wrong, becoming the topic of opinion pieces and talk shows for weeks. Audiences couldn’t get enough, turning the film into a major hit, becoming the highest-grossing film of that year worldwide. The title itself became synonymous with unhinged exes. It even earned six Academy Awards nominations , including Best Picture. But was it that good? More, does it hold up in the post-lions and Christians era of social media, reality TV, and the MeToo era? Not even close. Ha.
Watching Fatal Attraction today is to be turned off by its carefully designed vision of white male privilege and entitlement. Nothing happens to Michael Douglas, the lawyer husband who cheats on his gorgeous and wholesome wife with a rather intense book editor played by Glenn Close. His so-called punishments effect his pride and ego. Okay, she boils the family’s rabbit, destroys his car, kidnaps his daughter from elementary school to ride a roller coaster, and sends him a cassette of a profane rant. He got laid twice and freaks over why the woman in question can’t take no for an answer for his being a selfish asshole. No, the dirty is done by and to the women, a showdown between the perfectly wavy-haired Madonna and the frizzy permed whore. Instead of nuance, they represent extremes, trading looks of betrayal or outrage. It was hailed as visionary to have wifey Anne Archer shoot Glenn Close in the final, come-back-from-the-dead-moment. But it wasn’t. It was just slasher film lite nonsense.
Movie writers made much ado about the famed original ending, where Glenn Close commits suicide to the celebrated aria from Puccini’s Madame Butterfly. The knife she used was one held by Douglas to threaten her in a previous scene. With his fingerprints still on the weapon, the police arrive at his home to arrest him, giving Close what appears to be the final word. Mama Archer is stupefied, with Douglas yells at her to call a lawyer. She runs into the house, goes into his artfully decorated man cave to make the call, only to stumble upon the cassette sent by Close. Archer plays it, rewinds one passage, hearing Close would just have to cut herself deeper, killing herself. With evidence of the suicide, not murder in hand, Archer bolts out of the room. We hear her saying to her daughter as she runs out, “Come on honey, we’re going to get Daddy.” Test audiences hated that Douglas was even punished a little, leading to a new ending, further underscoring the perils of a group vote in Hollywood. It did make a difference, though. Instead of earning a possible $15 million at the US box office, the film cashed out with nearly $160 million instead.
Fatal Attraction does hold a special place in history for being one of the trashiest films ever to be validated by Oscar nominations. It makes you go “Hmm” as to why so many people venerated the movie in its time. Close is a complex actor of incredible skill and depth, and you have to admire what she tries to do with the character. The idea of someone turning the tables on an unfaithful, arrogant partner is a good one. With violence perpetrated against women a major problem worldwide, seeing it done for entertainment purposes with a false ending of so-called female empowerment diminishes and trivializes what could have been a fascinating study of an age-old question. Why do people cheat? Instead, we get a passionate male fantasy dressed in white jersey and black leather, set in some gorgeous looking spaces in New York City. It’s fatal, alright.
Ah, what to say about Cats. The musical’s tag line was “Now and Forever.” The film version bears the legend, “What the Fuck Was That?” One of the most successful musicals ever produced, studios circled it for several decades. Besides its being a plotless show based on poems by T. S. Eliot, the underlying problem was how do you present it in a filmed medium. At one point, it looked like Cats would roam as an animated feature, which in hindsight, wouldn’t have been so terrible.
With musical films still doing surprisingly well at the box office, fans cheered when Universal announced that Cats the movie would be helmed by Tom Hooper. The man who shepherded the Oscar-winning hit adaptation of Les Misérables would now herd the kitties for the big screen. Its glittering cast led by James Corden, Taylor Swift, Judi Dench, and Jennifer Hudson, who’d sing the legendary “Memory” on screen, felt like this years-in-the-making version of Cats was on the right track. Then we saw the first trailer. Oooof. Derided and dissed, hated and hissed, Cats looked like a dog.
Once you saw it, design-wise, Eve Stewart’s Cats is a dream to look at on-screen, filling it in a way John Napier’s original stage production set could not. The choreography earned comparisons, too. Fans found themselves divided over Gillian Lynne’s original choreography, a landmark blend of acrobatics and modern dance enhanced by feline movement, versus Hamilton‘s Andy Blankenbuehler’s edgier take. Yet, even with such glittering trappings, most audiences either stayed away or failed to enjoy the experience if they did go.
Whatever committee agreed to employ motion capture effects, projecting the cast’s faces onto feline bodies, doomed the film from the start. You can accept it in Star Wars or Lord of the Rings, but the sight of La Dench doing a leg extension stretch like a cat was too much to handle. That was a “Hmm” moment for the ages. Of course, it did trigger cheers from the “It’s so bad it’s good” crowd, who turned Cats into The Rocky Horror Picture Show for the 21st century. Leave it to some folks to pull the one thread from this ball of wool to play with good fun.
Some magic does exist in Hooper’s super-sized production. The appearance of Taylor Swift, late as it is, is welcome. Her natural gifts as a performer found the right space. The same applies to Jennifer Hudson, whose delivery of the classic “Memory” is one to remember. Francesca Hayward and Robert Fairchild also make good on delivering the dance elements with grace and excitement. But it ends there, at least for me.
In the end, Cats is for the curious only. However, I will never forget the sight of one little girl watching the film that Christmas week at a theater in Mexico City, where I saw the movie with my family. My siblings slept, but as I walked out to see why my mother hadn’t come back to her seat, I saw this child looking at the screen with a smile; you can see it was one of absolute wonder and joy. She loved the film. As for my mom, she was reading a magazine in the lobby.
The unexpected success of George Lucas’s Star Wars in 1977 paved the way for special effects-driven narratives that could transport audiences further than ever before. In 1978, Richard Donner’s Superman: The Movie had droves of moviegoers believing a man could fly. And in 1979, Disney unveiled the dark space mysteries of The Black Hole.
Young listeners, believe it or not, a time existed where Disney was floundering in leading the cinematic charge. Even its fabled animation division was struggling for relevancy. Tastes were changing, and audiences no longer sought the family films that were the studio’s hallmark. Disney had been developing a space-themed adventure for the better part of the 1970s, which eventually became The Black Hole. Instead of delving into the heart of darkness in space, the studio opted to rehash its famed 20,000 Leagues Under the Sea with wildly uneven results.
What makes you go “Hmm” over this film is when you ponder what could have been.
The famed imaginations of Harrison and Peter Ellenshaw and their visual effects team dreamed up visceral images of the black hole phenomenon in space. Their matte paintings also added plenty of fire to some of the widescreen sequences. The entire enterprise should have broadened Disney’s reach outside of kid-centric fare to keep the brand alive. Instead, the film was an awkward blend of its former self and its future goals, with neither coming out ahead. For all its visual wonder in places, you could see how the marketing team wanted to commodify its leading robotic players. The tie-ins were plentiful, the robots were cute and menacing, but the film’s failure meant no one wanted The Black Hole merch for Christmas 1978.
None of its accomplished ensemble cast led by Maximillian Schell, Anthony Perkins, Robert Forster, Yvette Mimieux, and Ernest Borgnine could do anything with the by-the-numbers script. And its lofty desire to visualize the descent into the Heaven and Hell of the black hole was laughable, along with some other less than effective sequences. What could have helped was having a director with vision, not Gary Nelson, the man who brought forth Freaky Friday and The Boy Who Talked to Badgers for the studio, as well as episodes of Gilligan’s Island and The Patty Duke Show.
Science dictates that nothing can escape the pull of a black hole in space. Trust me. People avoided its force on Earth that Christmas season, bringing Disney a sizeable lump of coal. Despite its failure, Disney did not give up on creating more mature fare, as exemplified by the original Tron, Something Wicked This Way Comes, and the notorious Watcher in the Woods in the early 80s. Still, a cult following has developed for The Black Hole, one that continues to grow. So much so, Disney is looking to revive the movie again. Given the studio’s revamped fortunes courtesy of Lucasfilm and Marvel, a black hole may be swirling our way sooner than later. In the meantime, witness the humble origins of a powerhouse genre.
We could go on for a while longer discussing the films that make you go Hmm, but rest assured it will be back to ponder again. David Lynch’s baroque take on Frank Herbert’s Dune and the hateful, franchise killing sequel to Sex and the City both come to mind. Until the Club meets again, stay safe and healthy out there, mi gente.
Watching famous people all running for their lives in a disaster film was an indelible viewing experience for years. It comforted me knowing even THEY could avoid the natural and human-made forces that threaten us all, at least on film.
However, my view on disaster films did evolve into something a little more profound. Real-life is not as bad being on an Earth hurtling towards the sun, living the aftermath of a nuclear war, or caught in a swarm of killer bees with Oscar-winning legends who should have known better.
Despite the plethora of pretenders to the disaster film throne, the holy trinity of The Poseidon Adventure, Earthquake, and The Towering Inferno reign supreme for reasons that have much to do with their hammy star casts, sprawling narratives, and varying degrees of special effects. I decided to focus on films that eschewed camp or offered a more grounded reality to the term “disaster.” With tongue firmly placed in cheek, too, here are a few of my favorite disaster epics for your viewing pleasure.
The Day the Earth Caught Fire (1961)
Directed by Val Guest
Cast: Edward Judd, Leo McKern, Janet Munro
Streaming on Prime Video
Released in 1961 and considered a science-fiction masterpiece today, what I love most about The Day the Earth Caught Fire is that it puts a relatable human face on the prospect of catastrophe. A group of Londoners deal with the unthinkable: recent US and Russian nuclear tests succeed in changing the Earth’s orbit, propelling it towards the sun. The sight of an alcoholic newsman seeking redemption in covering the story of a lifetime is heroic in many ways. He’s awakened from his self-pitying slumber to deal with an uncertain future for all humankind.
The groundbreaking special effects do not pull you out of the story. Instead, they illustrate the rising threat in a severe, not camp, manner. Things get toasty as it reaches a defiantly ambiguous final act to make its era-defining point. The ending shots were altered for US audiences to offer a glimmer of hope with a telling sound effect. Watch it and decide which proves the more gratifying conclusion. Either way, it is a memorable viewing experience.
Directed by Mick Jackson
Cast: Karen Meagher, Reece Dinsdale
Streaming on Kanopy and Prime Video
Leave it to the Brits to conjure up TWO realistic and terrifying realizations of nuclear war ever aired on television. In 1966, the BBC approved the production of The War Game, a mock-documentary chronicling the effects of a nuclear attack. The network was so horrified at the result; it pulled the film from broadcast. The War Game did receive a limited theatrical release in the UK and a film festival run, even earning a 1967 Oscar for Best Documentary Feature Film. However, it did not air publicly until 1985, paired with a showing of the acclaimed 1984 telefilm Threads.
The prospect of a US/Soviet nuclear war was all-too-real in the 1980s, creating a nervous tension that is still palpable. US audiences who didn’t possess an opinion on nuclear weapons’ stockpiling sure as hell had something to think about when the ABC network unleashed director Nicholas Meyer’s The Day After in 1983. The following year, the BBC aimed not to shy away from a nuclear exchange’s hard truths on British soil, resulting in the harrowing and devastating Threads.
A generation remains marked by both films as Threads did air in the US. Its relentless vision of a Soviet attack on Britain and its effects on two Sheffield families hurts to watch at times. What separates Threads from The Day After is that it takes viewers on a journey that lasts over a decade beyond the initial attack. Along with writer Barry Hines, Director Jackson does not hold back on depicting the visual impact or veracity of what awaits humankind after a nuclear war. The final image will stay with you for a long time. Grim and shattering, it remains a television milestone that has lost none of its power or relevance.
The Swarm (1978)
Directed by Irwin Allen
Cast: Michael Caine, Katharine Ross, Richard Widmark, Richard Chamberlain, Olivia de Havilland, Slim Pickens, and Henry Fonda
Rent/Purchase on Prime Video, iTunes, YouTube
Okay, after witnessing the end of the world as we know it with Threads, take a break and laugh your ass off with The Swarm. Director Irwin Allen thought he could do NO wrong after scoring back to back hits with The Poseidon Adventure and The Towering Inferno. Like Icarus, he came crashing back to Earth thanks to the killer bees of The Swarm. Like many fans of the genre, I raced to the cinema with every new Airport sequel, The Cassandra Crossing, Rollercoaster, Avalanche, all of them B-movies at best, sure. But when it came time to watch a “Bee” movie where they wreak havoc all over southern Texas, we knew the genre’s most successful master of disaster had jumped the hive.
Names, names, names, fill out this massive ensemble cast of Turner Classic Movie tributes, some of whom show up for a scene or two and then disappear. Most of the cast feels the sting or gets offed without a second thought. The effects are beyond belief at times, especially when you think about audiences embraced such landmark films as Star Wars and Superman had already been released. And can someone explain how Michael Caine knew precisely when to show up at the first attack on a military base? Some characters question it, but the answer is never really established, which drove me crazy then and now. Incredibly, The Swarm earned an Academy Award nomination for Best Costume Design, too! Allen wouldn’t let the failure of The Swarm get him down, though. Fans of the genre did scope out Beyond the Poseidon Adventure; the release of When Time Ran Out pretty much proved prophetic for Allen and the genre for a long while.
Directed by George Seaton
Cast: Burt Lancaster, Dean Martin, Jean Seberg, Jacqueline Bisset, George Kennedy, and Helen Hayes
Rent/Purchase on Prime Video, iTunes, YouTube
So how did this genre take flight in the first place, you ask? We’d had versions of planes in distress before, but you can blame the success of Airport in 1970. Based on Arthur Hailey’s best-seller, the film adaptation gave the disaster film a hearty launch with this Oscar-nominated box office titan.
All you had to do after Airport was cast a bunch of screen legends and hope one of them would earn an Academy Award as the great Helen Hayes did with this morality tale with wings. A snowstorm, overworked husbands, shrew wives, philandering pilots, pregnant flight attendants, and one deranged bomber proved the right mix, though. All dressed by the great Edith Head; producer Ross Hunter made a mint with this glittering swill. So much so, Universal kept going back to the hangar for three more films! Bless. And I went to each one with excitement, until The Concorde: Airport ’79 grounded the franchise for good. Still, you never forget your “first” disaster film, and the original Airport and The Poseidon Adventure remain my truest loves.
Directed by Ric Roman Waugh
Cast: Gerard Butler, Morena Baccarin, and Scott Glenn
Premieres on December 18 on VOD, followed by HBOMax
What about the disaster films of today? Well, bless Roland Emmerich for keeping the Irwin Allen spirit alive with such films as 2012 and The Day After Tomorrow, which coined the term “disaster porn” for their extensive and bludgeoning film effects.
In 1997, Mick Jackson of Threads fame would score a minor hit with Volcano, which had its magma muted by Dante’s Peak, released earlier that year, and became a family favorite for reasons you won’t believe. Let’s not forget the dueling comet dramas Deep Impact and Armageddon from 1998. Personally, the 1996 hit Twister continues to reverberate as strongly as the 1970s classics for the same reasons. An able cast and corkscrew dialogue is essential for the genre to make an impact.
Still, its characters’ humanity is one ingredient that is always short-changed by the massive resources put into the effects. That is why I am looking forward to upcoming Greenland with Gerard Butler. The film seems like it puts an equal premium on the emotional impact of the disaster on its ensemble players, not just their impending doom’s visuals elements. Disaster films with a message will always get me in front of a screen, reaffirming the thought that it can’t be worse for us in real life? Right? Well, maybe not these days.
If you’re like me, this Election Day is all about comfort food and comfort movies. If you need to break away from the pundits & prognosticators, here are the Carreón Cinema Club’s Top Five Election Day Movies to help steady, or jangle, your nerves as we await the results of a lifetime.
TED (2012) – Feeling the need to bust a gut, look no further than Seth MacFarlane’s Oscar-nominated hit, TED. One of my favorite R comedies ever, the image of a trash-mouthed, alcoholic teddy bear is perfect for tonight. Starring Mark Wahlberg and Mila Kunis, prepare for a case of the moist fuzzies thanks to MacFarlane’s pitch-perfect voice performance as Ted. It’s for anyone who needs a thunder buddy tonight.
THE PHILADELPHIA STORY (1940) – One of my favorite films ever, George Cukor’s 1940 classic THE PHILADELPHIA, is as perfect a comedy as you’ll ever see. Starring Cary Grant, Katharine Hepburn, and James Stewart in his only Oscar-winning performance, this is a film to treasure thanks to a screenplay that is practically music to your ears. Classy, legendary, and funny in its depiction of class, media, and marriage, you will swoon away the anxiety in no time.
WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (1988) –Tap into the pop kitsch of Spanish iconoclast Pedro Almódovar’s first mainstream hit, WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. This Spanish-language comedy from 1988 reveals how far an anxious woman will go to get a call back from a straying lover. A hilarious look at relationships and gender, you’ll be ignoring your telephone as election updates start coming in.
NETWORK (1976) – If you need something a little more substantive, why not Paddy Chayefsky’s brutally funny but accurate look at media with NETWORK. Directed by Sidney Lumet, this prophetic movie details how a last-place network taps into the era’s popular rage with outrageous and tragic results. Featuring William Holden and Robert Duvall, it is the Oscar-winning trio of Faye Dunaway and Peter Finch, along with Chayefsky’s script that makes this film a classic for any media age.
Z (1969) – For the nihilists just looking for a cathartic release, may I suggest Costa-Gavras’ Z, a dark and chilling account of Greek politics following the assassination of a Greek political leader. Inspired by real events, Z’s representation of the event’s aftermath, including a mass cover-up and a coup d’etat, is sobering and all-too timely. One of the first films to be nominated for Best Picture and Best Foreign Film Oscars, winning for the latter. Unforgettable.
Hang in there, mi gente. We have each other for whatever happens next. See you on the other side of history.
Hola, mi gente! Feliz Día de los Muertos from the Carreón Cinema Club.
One of Latin America’s most revered cultural traditions, the Day of the Dead, has infiltrated el norte with gusto. Even Target gets into it these days! However, what thrills me more is how a particular group of filmmakers endeavored to craft two fantastic animated films that have broadened the reach and power of these special days celebrating the dead.
First up, Jorge R. Gutierrez’s gorgeous and inventive 2014 adventure, THE BOOK OF LIFE, produced by Oscar-winning director Guillermo del Toro, nominated for a Golden Globe Award as Best Animated Feature Film.
If that wasn’t enough, Disney/Pixar wasn’t going to be left out of the ofrenda, creating the 2017 family classic COCO, directed by Lee Unkrich. But something tells me you already know a little something about that not-so little blockbuster. (Hint: It received two Academy Awards, including Best Animated Feature Film.)
Both films remain heartfelt and poignant to me, but I have a special place for THE BOOK OF LIFE. The visual artistry devised by Gutierrez and team is so original, emulating the love and passion of Latino artisans in several mediums and multiple generations. The textures, the colors, and Mexicaness of it all live in the myriad details that populate the screen. If you haven’t seen it, please make an effort to add it to your family viewing choices.
Until next time, amigos! And por Dios, subscribe to the Carreón Cinema Club already!
Real life is probably scarier now than ever, but a little artificial fear mixed with nostalgia is still a damn good treat for the senses. If you are finding yourself eager to shut out all that ails us in this pandemic/election double feature of doom, why not try my Fright Night Five Film Festival?
Alien (1979) – Ridley Scott’s epic monster in space story still packs a wallop. Often imitated but never equaled, the original ALIEN defined a new era for the genre. Exquisitely minimalistic in execution, it is a slow burn of building suspense until it explodes with terror and primal violence. It remains my favorite scary film ever, despite the diminishing returns of the franchise.
Runner up: James Cameron’s 1986 militaristic mash-up ALIENS, which turned Oscar-nominated star Sigourney Weaver into a hero archetype for the ages.
Carrie (1976) – Stephen King’s classic novel Carrie is a perfect expression of teen rage, manifested in a young woman with telekinetic powers. A visualized by director Brian De Palma, CARRIE is a riveting blend of psychological drama and terror that reaches its devastating peak with a prom sequence for the ages.
However, the moments in between depicting Carrie being bullied at school by classmates and at home by her overbearing Bible-thumping mother give the film its most haunting and human qualities. Beautifully interpreted by future Oscar winner Sissy Spacek, CARRIE has since evolved into a cautionary tale that plays out even today with equally devastating results.
A Nightmare on Elm Street (1984) – Teenagers and horror go together better than “Boogey” and “man” for a reason. Leave it the horror auteur Wes Craven to create the ultimate nihilistic symbol of consequence: Freddy Krueger. Craven’s A NIGHTMARE ON ELM STREET is terrifying because its villain results from the vigilante justice engaged by a group of parents seeking to stop a predatory child murderer. When their teenagers start to die one by one, this narrative of an unstoppable vengeful ghost instantly became mythic and a perfect representation of our current ethos. What happens when you can’t take care of your kids in an era of rampant American individualism? That’s a nightmare, alright.
Halloween (1978) – If you’re a child of the late 1970s and early 1980s, you will remember where you were when the theme to John Carpenter’s HALLOWEEN scared the shit out of you for the first time. It rivals John Williams’ theme to “Jaws” as a harbinger of death. The slasher film was alive and well, an outburst of anarchy brought on by the American Dream’s demise. After Vietnam, Nixon, and the gas crisis, America was numb and angry, among other societal malaise. New cultural monsters were born, and standing tall amongst them was the notorious and sadistic Michael Myers.
Myers was rage incarnate, another silent and vengeful killing machine, and it didn’t matter who stood in his way. As a horror film, it is a compelling example of cause and effect. You watch, you scream, and you laugh nervously at your reaction. It helps that star Jamie Lee Curtis as Laurie Strode is such a relatable screen heroine. We are all Laurie in that we will survive, dammit. However, look closer and try to project into the film what you fear at this moment in time. It’s a whole different movie experience. Trust me.
The Exorcist (1973) – If you’re craving tales of demonic possession, then THE EXORCIST is for you. What makes William Friedkin’s visceral supernatural thriller so compelling is having a young child at the center of a terrifying reality. Stars Ellen Burstyn and Linda Blair are like watching a beautiful duet of humanity as a mother and daughter, even as all hell breaks loose in their Georgetown home.
In 1973, audiences reacted to this film by waiting in line for hours, some in freezing weather, to get a ticket. THE EXORCIST became part of the national conversation, even surpassing the Watergate scandal for a moment. Nearly 50 years later, though, aspects of THE EXORCIST feel quaint in terms of effects. The narrative, however, still shakes you up hard. It is a superbly crafted film experience, preying on all that you fear, whether you’re religious or not. Don’t watch it alone in the dark – or better yet, do. You’ll see and hear things all over the house that are NOT on your screen.
Enjoy the first ever Fright Night Five from the Carreón Cinema Club, mi gente. Be safe and sane out there — and wear a pinche mask! It’s alright tonight, ya tú sabes!
Welcome back to the Carreón Cinema Club. Get ready for a double feature of failing marriages and the importance of communication. But seriously, both films are remarkable for their emotional frankness and the artistry of the great Ingrid Bergman.
It is not a coincidence that I am focusing on another glamorous Swede after debuting the Club with Greta Garbo. The luminous Ingrid Bergman, a three-time Oscar winner, couldn’t avoid becoming a Hollywood legend thanks to such films as Notorious, Gaslight, and, of course, Casablanca. However, the discovery of her later works on the Kanopy and Prime Video channels revealed to me how she was one artist who didn’t shy from taking a chance on difficult material, especially at a time where public perception was actually against her.
After representing the perfect leading lady image in the 1940s, Bergman’s popularity took a severe hit in the early 1950s thanks to her relationship with Italian director Robert Rossellini. They had met while working on Stromboli in 1949, kindling a passionate affair. Both were married to other people. More, Bergman was also pregnant with her first child with the famed director. Deemed “scandalosa,” the actress stayed exiled in Europe for several years. Yet, that didn’t stop the duo from working together. Bergman’s collaborations with Rossellini were often compelling and nothing like her films that garnered her much success.
According to daughter, actress Isabella Rossellini said in a recent interview with Reuters, “She showed that women are independent, that women want to tell their own story, want to take the initiative, but sometimes they can’t because sometimes our social culture doesn’t allow women to break away from certain rules.”
Watching JOURNEY TO ITALY on Kanopy only reaffirms her daughter’s sentiments. Coupled with Rossellini’s stature as one of the most prominent members of the neo-realist movement in world cinema, Bergman flourished with portraying complex women who break the rules attached to traditional gender roles.
Much like Nicole Kidman today, Bergman had no problem stripping down the veneers of poise and gentility to reveal her truest self. Her emotional vulnerability resulted in a fascinating showcase in THE HUMAN VOICE, a one-hour televised adaptation of the famed and influential Jean Cocteau monologue. Speaking to an audience of one via telephone, Bergman captures all that can dismantle us when communication with a loved one becomes difficult and unbearable.
I love films that deal with unfiltered relationships and offer real psychology as to why we put ourselves through such trials, even when we face an absolute end. It makes for incredibly beautiful catharsis on film. That’s why Bergman leads this second entry of the Carreón Cinema Club. First up, JOURNEY TO ITALY.
Journey to Italy (1954)
Director: Roberto Rossellini
Cast: Ingrid Bergman, George Sanders
In JOURNEY TO ITALY, Bergman co-stars with George Sanders of All About Eve and Rebecca fame. As the film opens, the signs are evident that the moneyed duo of Kathryn and Alex Joyce may be facing the end of their marriage. Heading by car to Naples to unload an inherited villa, their trip starts as a vacation, a chance to reconnect. Instead, they find their conversations taxed by Alex’s sarcasm and Kathryn’s hair-trigger sentimentality. At constant odds for most of the trip, misunderstandings and jealousy sully the waters further, prompting Kathryn to ask for a divorce on impulse. Where the film takes a stunning turn, however, is when they visit the almost lunar landscape ruins of Pompeii. Seeing the discovered bodies of former lovers encased for eternity in ashes rattles Kathryn to the point that she begs Alex for them to leave. The impact is profound, one that delivers a final scene that is both powerful and unforgettable.
JOURNEY TO ITALY is no travelogue, although Rossellini’s composition of black and white shots is often beautiful and striking. No, the territory covered is all heart and mind. It is a fascinating journey to watch, even though not a lot happens for most of the film until the final act. The non-linear trajectory of the narrative, however, is what gives the story its forward motion. What captured my attention most was how urgent the emotions played throughout. Director Rossellini would tell the actors their dialogue before cameras started rolling, which sounds like a risky endeavor. Yet, Sanders, and especially Bergman, deliver such raw and unfiltered performances, you can only imagine how it felt like working without a net. The possibility erases any chance for overembellishment, never robbing the characters of their truth. They are living it out loud at that moment. That is why JOURNEY TO ITALY is such a wonderful experience to watch, one I hope you enjoy as well. It continues to be available on Kanopy. Take the journey. It is so worth it.
The Human Voice (1967)
Based on the play by Jean Cocteau
Adapted by Carl Wildman
Director: Ted Kotcheff
Cast: Ingrid Bergman
Jean Cocteau’s famed one-act play, has returned to court public attention this year thanks to Spain’s Oscar-winning auteur Pedro Almódovar. The toast of the 2020 Venice Film Festival, Almódovar took a giant creative leap with his adaptation, a short film no less, and in English! For the first time. Ay la leche! Starring the equally fearless Tilda Swinton, the threads of his passion for Cocteau’s have finally flourished. You can see how the story of a woman’s desperate phone call proved influential for his iconic 1988 comedy Women on the Verge of a Nervous Breakdown. As we await the US release of his adaptation of THE HUMAN VOICE, what a pleasant surprise to know we have access to Ingrid Bergman’s interpretation of the role to offer a study of contrasts.
Now streaming on Prime Video as part of its Broadway HD channel, THE HUMAN VOICE finished the one-season run of the ABC anthology series, ABC Stage 67. Bergman stars as an unnamed woman dealing with the emotional wreckage after her husband leaves her for another woman. We are allowed to hear what is probably be the last conversation between this couple, but only her voice. Representing her husband is the cold instrument known as a telephone, her literal lifeline as she makes a desperate attempt to stay connected in more ways than the unpredictable wire. We never hear from him, only seeing clues of his torn picture and a magazine feature image of his new love.
The premise is unadorned, offering an actor a bravura role that lasts just under an hour. Bergman takes full advantage. Chainsmoking and unable to keep her voice was quavering, she turns herself into a human rollercoaster of emotions, rising and falling throughout the often-painful conversation. Forget the part of her being famous; it is hard not to feel uncomfortable for eavesdropping before the famed actress hits specific notes that feel both personal and relatable as the conversation reaches its peak. The audio effects of a clock ticking, dial tones and silences on the other line are often intrusive and heartbreaking, punctuating the reality she’s not going to turn this situation around in her favor.
The look is all 60s television, abstract and theatrical. The camera work is not subtle, and the pauses for commercial breaks are annoying as transitions. Bergman feels a bit mannered at the start. Yet, it is a beautifully calibrated star turn by the end, offering a persona that is real and honest. Amazing what the human voice can do to us when we know it is close to being removed from our spheres of living.
You can see what several artists have taken on Cocteau’s play. Interestingly, Roberto Rossellini directed THE HUMAN VOICE in 1948 as part of a two-part Italian film titled L’Amore with Anna Magnani and Federico Fellini. It is now showing on HBO Max, which I will make a point to watch.
Thanks for reading this second installment of the Carreón Cinema Club, home of films with big feelings! Don’t forget to subscribe to the YouTube channel, as well as follow me on Instagram: @CarreonCinemaClub and Twitter: @CarreonClub. Lots more to share ahead. Keep on reading. Thanks for your attention, mi gente.