Streets of Fire.

Review #2218: Streets of Fire.

Cast: 

Michael Paré (Tom Cody), Diane Lane (Ellen Aim), Rick Moranis (Billy Fish), Amy Madigan (McCoy), Willem Dafoe (Raven Shaddock), Deborah Van Valkenburgh (Reva Cody), Richard Lawson (Ed Price), Rick Rossovich (Officer Cooley), Bill Paxton (Clyde), Lee Ving (Greer), and Stoney Jackson (Bird) Directed by Walter Hill (#1072 - 48 Hrs, #1091 - Last Man Standing, #1139 - Supernova, #1625 - The Long Riders, #1728 - Another 48 Hrs, #2217 - The Warriors)

Review: 

Paramount Pictures really liked 48 Hrs (1982), as directed by Walter Hill. He had co-written it with Larry Gross as a production that had Lawrence Gordon as one of the key producers. So, two years later, here they all are for a film again. And so, Hill wanted to make a film that he thought would be a perfect one for his teenage self that would have things he still loved even now: "custom cars, kissing in the rain, neon, trains in the night, high-speed pursuit, rumbles, rock stars, motorcycles, jokes in tough situations, leather jackets and questions of honor". Of course, in the words of Gross, Hill wanted to do a movie that basically was his "own comic book movie", which might sound a tiny bit like the inspirations for The Warriors. Casting hiccups (i.e. wanting Tom Cruise but getting beaten to the punch) and a sudden inspiration during writing...led Gross and Hill to take the success of Flashdance (1983) as a way to make the film as basically a musical, since, well, if one "stylized movie" can get going, why not this? Did I forget that one other inspiration for the type of reality depicted for the film was John Hughes? Yes, Hill not only wanted to make a movie that was something that could be great for his teenage self as a high school flick, a comic book-type film and also a musical. The film, meant to be the first of a planned trilogy (all with Pare tapped to star, naturally)...did not work out well, filing to make back its $14.5 million budget. Gross has gone on record stating that the film did have influence when it came to ones that were (in his words) "completely saturated in...iconography", such as RoboCop and Se7en, with his theory being that those films did stylization with a balance of gore that hooked the audience in ways that were not done with Streets of Fire. In 2008, Paré and Van Valkenburgh participated in Road to Hell (as directed by Albert Pyun), a sort-of follow-up.

I wish I could love it. I really do. The film is wonderfully shot by cinematographer Andy Laszlo when it comes to that weird world of another time and place that makes for a fruitfully interesting vibe and such for 93 minutes. To me, it just comes off as a more average rendition of The Warriors (1979), complete with an even less interesting idea behind its main duo because dear god, it focuses on the wrong two! I swear, one has more fun with the cheesy retort between Pare and Madigan than the attempts of trying to make me care about him and Lane (oh look, an ex-boyfriend encountering his ex-girlfriend in a rescue operation, makes one want to slip on Casablanca). Hell, according to Madigan, when she read for the film (for the part played by Van Valkenburgh), she apparently found the nomad soldier-for-hire the more interesting one. With the charm of someone seemingly ripped out of a Howard Hawks film, she steals the show away from Pare, who plays it all too cool that really only works if one is Clint Eastwood. Lane (present in a handful of films such as Coppola's two 1983 films in The Outsiders and Rumble Fish) may have a suitable presence when it comes to singing, but I think I actually found her more interested in chemistry with her lead...in A Little Romance, five years earlier. One just has to view the film around them as if it was one of those cheesy teen films where the action matters more than if the sucker gets the girl. Of course, Dafoe wearing a leather...apron (?) is far more belonging to the vibe of goofball adventure, complete with a casually weird vibe that would make a fascinating comparison with The Loveless. There is something oddly amusing about Moranis not getting to do schtick with this role, which is staid but kinda funny. It is a lean movie of pretty simple Western values that has an axe-fight in the middle of a crowd before closing its mish-mash of vibes and a song naturally named "Tonight Is What It Means To Be Young". As a whole, it is a film that looks nice and has a few moments of good-natured fun within its fable elements of rock and roll to clash with mediocre leads and stuff that only scratches the surface of being more than just "okay" entertainment. It might be among Hill's ambitious ideas for filmmaking, which therefore makes it more than just calling it one of his average productions of his heyday. 

Overall, I give it 7 out of 10 stars.

Redux: The Terminator.

Redux #063: The Terminator.

Cast: 

Arnold Schwarzenegger (the Terminator), Michael Biehn (Kyle Reese), Linda Hamilton (Sarah Connor), Paul Winfield (Ed Traxler), Lance Henriksen (Vukovich), Bess Motta (Ginger), Rick Rossovich (Matt), Earl Boen (Dr. Silberman), Shawn Schepps (Nancy), and Dick Miller (Clerk) Directed by James Cameron.

Review: 

From my review on July 30, 2011:

This film is in a word a classic. It has good acting for the most part, a good film noir, (which will be referred to as TechNoir) and a great plot. Good effects especially at the end. Good action and also good direction with a young Cameron at the wheel.

"The Terminator themes had been important to me since high school. Those apocalyptic visions, ideas about our love/hate relationship with technology, our tendency as a species to move in a direction that might ultimately destroy us, and a central faith in the resourcefulness of humanity." - James Cameron

In 1981, James Cameron was trying to become a feature film director when he was hired to do Piranha II: The Spawning, rising from special effects director to the main job due to creative differences with the producer (Cameron had become interested in films due to reading about special effects while in school, if you remember). The movie was not a pleasant experience for him (namely because he got fired days into the film), but it was during a moment spent in Rome after being fired that proved important for Cameron. One night, wracked with a fever, he had a fever dream of a metallic man with knives that dragged itself from an explosion. Taking inspiration from John Carpenter (once described by Cameron as his idol) and how he made Halloween for less than $100,000 as a stylish horror film, it helped serve as a launching pad for what became the initial script of The Terminator. Cameron did have help in the script, for the most part. William Wisher, Jr helped turn Cameron's draft into a script, such as writing scenes involving the police or early scenes with Sarah Connor (he got an "additional dialogue" credit); Gale Anne Hurd, who suggested edits to the scripts, was given screenwriting credit to go along with serving as producer, as both Hurd and Cameron had worked under Roger Corman at New World Pictures (Orion Pictures, who distributed the film, had two ex-Corman associates on staff). Cameron even did concept art for trying to sell the idea to prospective filmmakers (such as Hemdale Film Corporation), to the point where Lance Henriksen was the likeness for the drawing along with being brought in to spook the staff in boots and leather, which worked out well in a deal with Hemdale and Cameron. Admittedly, any mention of The Terminator (1984) might bring a reminder that Harlan Ellison is listed with an acknowledgement in the credits. He loved the movie, but he thought it seemed familiar to his script for "Soldier", written for the TV program The Outer Limits in the 1960s. The filmmakers decided to settle and give him a credit in later prints of the film, much to the chagrin of Cameron.

Roger Corman has one hell of a filmmaking tree when it comes to people he employed who ended up becoming directors, and James Cameron essentially had his first major film success come with a production that he treated like a Corman film, complete with filming at night with guerilla-style shots done on a small(ish) budget; the fact that the film runs at 107 minutes is a testament to making a lean but effective piece of entertainment without any sort of element that seems unnecessary. I know I have said the movie is a classic, but the movie has only gotten better with age and further viewings, in my view. Every so often you have to remember that this is basically a slasher movie when you consider the body count. Aside from failing to take his main target, the Terminator takes down over two dozen folks, probably doing so with more efficiency than slasher villains of the time ever did. Hell, Biehn and Schwarzenegger have only one moment together where they are even in the same frame, consider that. Stan Winston and his studio had the task of doing a "flesh-covered endoskeleton", i.e., not just a man in a robot suit. They clearly made a great result, one that menaces the screen and achieves the art of seeming quite real to the audience without distraction. A creature that can't be reasoned with that manages to come after you even when it is shed of its humanoid skin, that is one hell of a concoction for a film that veers into horror, science-fiction, and yes, even noir territory.

Schwarzenegger had one key film credit to his name with Conan the Barbarian (1982), and it should be noted that he actually speaks less lines in this film than the prior movie. The funny thing is that he was actually thought by Orion for the film not as the title character but for the Reese character. This was contrary to Cameron's expectations of using low-key actors to do a cheap film, since he figured that he would have Henriksen play the Terminator, since it was meant to be a character that could blend in a crowd (go figure, Orion had O. J. Simpson in mind for the title role). A meeting between the two made it apparent to Cameron and Schwarzenegger that he would probably be better suited for the Terminator role, which clearly was the right decision. He sells the role in ways that one could only dream they could do in a role with little to say beyond having to act like a machine. Aside from a few television appearances, Hamilton had one prominent film credit before this film: Children of the Corn (1984), which was released a few months before this film. Hamilton is given the task of playing both relative innocence and hidden strength in a variation of the "Final Girl" trope in horror, which she handles expertly. Her terror at the situation she is thrust into becomes one we feel is thrust onto us. Biehn was actually cast because of his role in The Fan (1981), a movie that Cameron saw where Biehn plays a nice-looking guy who ends up being a killer stalker. For a good part of the film (at least for those who haven't seen it once), Biehn is effective in that mindset before he enters the picture as the would-be protector, which he handles quite well without having to strain to make the dialogue (consisting mostly of reacting to the Terminator or to Hamilton) work as well as it does. Henriksen may not have a big role, but the fact that he was effective in helping the film gain some interest with the whole "dressing up like the Terminator" stunt makes him an unforgettable part of how The Terminator became what it was. Winfield is the other part of the supporting cast that is basically cosigned to police beat elements, which works out pretty well for what is needed. It really is a lean movie, one that wraps itself quite tightly in efficient storytelling that shows just enough of the future landscape in perspective to make the drama occurring back in the present seem even more thrilling, particularly when it comes to the last sequence within a factory setting, where a machine stripped to its core is still on the chase and even still a menace with diminished legs. The synthesizer soundtrack by Brad Fiedel only adds to the level of terror in ways I hadn't really appreciated until listening to it once again, one that doesn't come off as dated (not to say that synthesizer music is dated, just that the use of it can have consequences in lesser hands). 

As a whole, the real crime is that the film was not even more successful. Sure, it did strike well with audiences, but Orion did not have as much faith for such a great movie as one would expect, doing little promotion (owing to wanting to elevate some of its other features of the time, such as Amadeus, the eventual Academy Award winner for Best Picture that year). At any rate, Schwarzenegger was clearly interested in making a sequel more so than Cameron, but a sequel wasn't commissioned until the film right were purchased back from Hemdale and Hurd. At any rate, with a story idea cribbed from the first film and a bigger budget, Terminator 2: Judgement Day was released in 1991. Four sequels would follow in the next three decades, with varying reception made worse by the fact that T2 is generally thought to be one of the greatest sequels ever made. At any rate, The Terminator is the film that made James Cameron a name to be reckoned with as a filmmaker and Arnold Schwarzenegger a true star, and it is a grand achievement for all involved as a science fiction action masterpiece.

Overall, I give it 10 out of 10 stars.