Honky Tonk Freeway.

Review #2565: Honky Tonk Freeway.

Cast: 

Beau Bridges (Duane Hansen), Beverly D'Angelo (Carmen Odessa Shelby), William Devane (Mayor Kirby T. Calo), Hume Cronyn (Sherm), Jessica Tandy (Carol), Teri Garr (Ericka Kramer), George Dzundza (Eugene), Joe Grifasi (Osvaldo), Geraldine Page (Sister Mary Clarise), Howard Hesseman (Snapper Kramer), Paul Jabara (T.J. Tupus), Jenn Thompson (Delia Kramer), Peter Billingsley (Billy Kramer), Daniel Stern (Hitchhiker), Celia Weston (Grace), Deborah Rush (Sister Mary Magdalene), Frances Lee McCain (Claire Calo), with Jerry Hardin (Governor), and John Ashton (Otto Kemper) Directed by John Schlesinger (#1431 - Midnight Cowboy)

Review: 

"I see HONKY TONK FREEWAY as a comedy about characters, so it needs extremely fine care and acting. This is what appealed to me, because I’m mainly intrigued with the people in my films rather than with the plot. This is a comedy about people living on the brink, and that’s the way most people actually live, I think. "

To be honest, I had this film on my radar for a couple of months because of its unusual allure. You've got an Academy Award winning director (12 years, but sure), a couple of name actors...and a movie that was a noted financial failure (with Thorn EMI Screen Entertainment in particular taking the hit in a time where they also took part in productions of The Jazz Singer and Can't Stop the Music). Apparently, the first step in the making of the film came with producer Don Boyd, who was travelling around locations when working near Boston that gave him an idea to then take to playwright and aspiring screenwriter Edward Clinton. As it happened, John Schlesinger wanted to make a big comedy movie after finishing work on Yanks (1979). When Schlesinger came into the production (who once stated that some of the charm that attracted him came from the "naivete" and "fresh [writing]" of Clinton), a handful of drafts were crafted with the collaboration of Clinton (which namely involved the characters in town and development). With a movie production he called at the time his "most complicated" (owning to a production that ballooned to over $23 million with filming in Florida [Mount Dora, Sarasota, mostly] to go along with orphans and various animals) before more money was spent on promotion before distribution by Universal Pictures that, to put it mildly, did not find any type of audience. At any rate, Schlesinger did keep directing, with such movies as The Falcon and the Snowman (1985) and Pacific Heights (1990) while Boyd* produced a few films every now and then, most notably with Aria (1987) while Clinton never wrote another film. 

Evidently, certain folks thought the movie was "anti-American". What exactly is un-American about disciplined chaos? People love a good scalawag, particularly when they see themselves in the person getting, shall we say, screwed over. There's a wide variety of ridiculous people all covered with this movie (one with quite the time capsule: a person at one point is shown wearing an ERA yes button*) that happens to be funny (in shorter terms, it's the type of folks who don't care if you use the word "virago"* in a sentence). Is it a great "satire" or one with useful "irony"? Look, let me level with you on something that seems straight enough to ward off a conman: you are either going to have fun with a comedy because you laughed enough times to have it win you over or you did not have fun. I had fun with these oddballs, ones who don't have that much shame to go around. In their eyes, being subtle isn't worth a damn if it doesn't aid in chasing "the dream". Sure, the dream could be as simple as playing hardball to get an off-ramp (what's a little bribery in the name of community), believing that a carnivorous pony is the book ticket, or trying to make it to Florida of all places to settle down*. Some of the episodic elements are hit and miss, mainly because you can only go so far over the place with getting folks to a small Florida town. Devane is probably the best part of the movie because there is something so entertaining about his desperation as both mayor and preacher in a town that goes for whatever he wants in the simple art of the deal: even weird publicity is still publicity (beyond the attempt to make a safari park attraction, anyway*). Dzundza and Grifasi make for fair enough goofball robbers while you get some worthy religious (and inevitable) hypocrisy from the pair of Page and Rush. Others end up mostly fine in characterization but likable enough if you happen to appreciate the presence of say, Bridges (duh) or D'Angelo (sure) or Tandy (take it or leave it). My only quibble is the ending, because it doesn't really know how to end besides, I'm not kidding, a motor collision involving a character nobody cares about (Jabara, playing a wannabee singer in a movie that already loves its title song a bit too much) and a rhino. Sure, it can be construed as following along the lines of other madcap movies such as say, It's a Mad, Mad, Mad, Mad World (1963), but you would hope for something a little better for a movie that already could be thought of as (wrongfully) a poor man's Nashville (1975). As a whole, it comes and goes for 108 minutes of useful enough entertainment that has its ebbs and flows with humor coming in all sides of the oddballs of America that may be up your alley on the curiosity freeway.

Overall, I give it 7 out of 10 stars.

Song of the day!

Yes, you heard that right, Acknowledged in August Again. I had enough fun with it back in 2024, so let's do it all over again with some movies that didn't get proper recognition back in its day and see if they deserved better. 

Next up...Fraser. Buscemi. Sandler. AIRHEADS!

*Special credit goes to this article I stumbled onto when googling the movie that I think delivers a bit of insight into the movie on their own terms: Box office failure: "Honky Tonk Freeway" and the risks of embarrassing the United States by Julia Prewitt Brown

*Boyd is a busy guy, as evidenced by stuff such as this: The University of Exeter - Honorary Graduates - Saturday 17 January 2009 morning ceremony

*The thing about not being religious is if you don't believe, then Phyllis Schlafly may just be dead rather than in Hell, or, worse yet, Heaven.

*Okay, I read that word in a tweet once.

*I knew someone who lived in Florida. They're dead to me now, but I hope they enjoyed that state because I'll be damned if I spend time there.

*Incidentally, Devane landed his most noted regular role as a politician-turned-businessman in the soap opera Knots Landing two years after this movie. Nice.

Redux: Close Encounters of the Third Kind.

Review #126: Close Encounters of the Third Kind.

Cast: 

Richard Dreyfuss (Roy Neary), Teri Garr (Ronnie Neary), Melinda Dillon (Jillian Guiler), François Truffaut (Claude Lacombe), Bob Balaban (David Laughlin), J. Patrick McNamara (Project Leader), Warren Kemmerling (Major “Wild Bill” Walsh), Roberts Blossom (Farmer), Philip Dodds (Jean Claude), and Cary Guffey (Barry Guiler) Directed by Steven Spielberg.

Review: 

“People are always looking for – I don’t know what you’d call it – I guess, the cosmic entertainment. More than the meteorological explanation. From the behavioral science point of view, I was just as interested in finding out why people looked to the skies, and want to believe, as I was in looking to the skies myself, to try to understand what’s happening up there, that the Air Force and the Government don’t want to tell us about.”

The 1970s were a hell of a time to make movies. Steven Spielberg became a major director during this time because of numerous features that he made, whether that involved television films such as Duel (1971) or his film debut with The Sugarland Express (1974), or more specifically, the big blockbuster Jaws (1975). Close Encounters of the Third Kind went from a development deal first done in 1973 to release in 1977, one with a script entirely written by himself that was inspired by a variety of factors, at least when it arose from script hell. The original idea was to have a script done by Paul Schrader, but troubles with the script led to re-writes by John Hill (each of which involved a cop as the lead) before Spielberg took over himself. David Giler, Jerry Belson, Hal Barwood, and Matthew Robbins all made suggestions or script doctoring, although only Spielberg is credited on the final script. One inspiration was Spielberg and his father seeing meteor showers, but one also has to consider Spielberg's previous 1964 film Firelight, which he wrote and directed as a 17-year-old living in Phoenix, Arizona. That film (not available to the public) dealt with an investigation of a series of colored lights in the sky that saw people disappear. Lastly, the song "When You Wish Upon a Star" also proved inspiration in the writing. His next film would come out two years later with 1941, the war ensemble comedy flop. There are numerous versions of the film, owing to how post-production was handled between Spielberg and Columbia Pictures. The film was rushed into finishing by the studio for a release on November 16, 1977, while Spielberg would've liked to release it the summer of next year. They made a deal together after its success that would see him re-edit the film how he wanted, provided that he include a sequence that showed the interior of the mothership. Spielberg regretted the sequence, which was first seen in 1980 as a "Special Edition" that apparently added a few sequences involving Dreyfuss and his character in the family time before his close encounter. A third edition labeled the "Collector's Edition" is basically the same re-edit but without the mothership sequence. Incidentally, Devils Tower, which had a couple of scenes filmed on location (minus the airstrip that was filmed on a disused airbase in Alabama), has a showing of the film on a nightly basis. Incidentally, Columbia Pictures tried to force a sequel, and Spielberg did conceive an idea called Night Skies on the off-hand chance they tried to make a film without him, which even saw John Sayles serve as a consultant for what would have been done after Raiders of the Lost Ark (1981) that would've been about aliens terrorizing a family. The script did not go too far, save for one thing: an alien being depicted as befriending one of the terrorized people as a benevolent creature to someone living in a broken home eventually spiraled into E.T. the Extra-Terrestrial (1982).

I wonder what was in my thought process when watching this movie all those years ago, since the only time I remember watching the film was in April of 2012, although being the first film that I wrote a review (brief as it was) after the passing of my dad. Maybe I dug the special effects, for which Douglas Trumbull was the visual effects supervisor while Carlo Rambaldi designed the extraterrestrials. Or maybe it was John Williams and his music score that got to me more than anything. Looking back, the movie is good, but it was not nearly as good as I imagined it was, although one can certainly see the appealing qualities in the 45 years that have passed since its release beyond the visually arresting imagination seen in plenty of Spielberg movies. It is the visual images that come from the movie that create the lasting impression of the film in awe, whether that involves a kid being distraught after seeing a fatherly meltdown involving mashed potatoes or the abduction of a little kid or the very first time that we see the alien lights. The scope of the film is quite involving, with effects that mostly back this vision up (I can see where Spielberg would think that digital effects of now might supercede what is seen here, but hey, effects made by human hands and tenacity work fine when it is executed well).

These are the actors that were presented the chance to play the main role before Dreyfuss and his lobbying paid off: Steve McQueen (said no because he couldn't cry on cue), Dustin Hoffman, and Gene Hackman, and Jack Nicholson. Truffaut, as you probably know, was a famous French director. Spielberg wanted him for this role from the first moment of casting, although he apparently put it off until the last minute (incidentally, he appeared in four feature films as an actor, but this was the only one where he was not the director). Dreyfuss is technically the best part of the film when it comes to the acting, although I would argue that Dillon holds just as much weight despite less than half of the screentime. As much I despise the character in the long run, he does play it with conviction to where one does have the semblance of sympathy of seeing an obsession drive a family man into a curious place where imagination is only half the story. Garr isn't given too much to really do besides being the skeptic (i.e., a level-headed person that has to be shown as a foil because the movie doesn't have an answer) with worry and fears. Dillon is the one to appreciate in panic, one that we are always on the side on in the pained parental fear held most: a missing child. I almost think that the film might have worked better with her on the mount rather than Dreyfuss, but you have to remember that the character is distinctly one that reflects the director in his curiosity more than anything.

It is the ending that doesn't quite bring things together to a great finish. Not to beat a dead horse, but the fact that a character like Roy decides to just galivant across the galaxy is a bit weird when you remember that most of the film saw him try to raise two kids with his wife. Regardless of how the film presents the family, it just comes off as a bit too selfish to really work as an ending in the way that I'm sure Spielberg wanted. In fact, Spielberg has been quoted as saying that he wouldn't have made the film the way it was after he started his own family, as he had a "privilege of youth" when making the original film (Dreyfuss has stated in recent years that any idea of the ending being different if Spielberg was a family man to be "nonsense"). I felt that the story between Dillon's character and the desperation and obsession she has over the alien encounter is far more interesting to consider than deadbeat Roy tearing down his whole life on Earth, unless one is meant to take it as the tragedy that it sounds like. But this is a movie where the way to deal with a massive spaceship is to trade musical notes. As a whole, the movie kind of just ends with parts that seem more like possibilities for further curiosity rather than a complete story such as missing men from long ago brought back to Earth, or the idea of just how one reacts to seeing their son get snatched and get returned to them. As a whole, the movie has endured for the imagination it inspires within the unknown with mostly skillful execution, one that is at least a contender for the first tier of interesting sci-fi movies of the past 50 years and a worthy effort from a soon legendary director. It inspires a curiosity in the exploration of what lies beneath knowing that one is not alone in this world beyond the people inhabiting the Earth, which is crisply presented in a solid enough manner by Spielberg and company.

Overall, I give it 9 out of 10 stars.

On Sunday: Turkey Week III, a collection of "turkey" movies from November 20th until November 26th.

Michael (1996).

Review #1312: Michael.

Cast: 
John Travolta (Michael), Andie MacDowell (Dorothy Winters), William Hurt (Frank Quinlan), Bob Hoskins (Vartan Malt), Robert Pastorelli (Huey Driscoll), Jean Stapleton (Pansy Milbank), Teri Garr (Judge Esther Newberg), Wallace Langham (Bruce Craddock), and Joey Lauren Adams (Anita) Directed by Nora Ephron (#554 - Sleepless in Seattle and #1020 - You've Got Mail)

Review: 

It may have already been said before, but it bears repeating: some movies are just easier to write about than others. Some are involving pieces that can deliver on laughs while others can do that and a bit of romance. This is not quite one of those films, as it seems I have stumbled onto yet another mediocre Nora Ephron effort, although at least it isn't one with some sort of following (sidenote: this was a fair hit with audiences upon release). It is fundamentally a mediocre movie, wracked by middling humor that seems to be the work of too many cooks at writer (there are four credits for screenplay, one of them being the director) while also being too hokey when trying to inspire any sense of passion. Its one highlight is a lead performance from Travolta, an angel with a devil-may-care attitude that occasionally imparts wisdom.  He is eccentric enough to almost push this forward, but we're dealing with a road movie with otherwise empty others. That sure is a shame, because Hurt and MacDowell are capable actors, but it takes too much time to really build hints for a romance and it leads to a mild payoff that can't satisfy anyone. So they're both too cynical to open their hearts to love at first, big deal. The antics of its lead character almost seems enough for its own film without any attempts at comedy-drama, or even just a silly television movie. On the road with a fellow like its lead should be more interesting than what plays out here, aside from its one barfight scene and trips to random landmarks. The supporting cast is fine, but they aren't too special, mostly serving as one-hit wonders (such as a brash Hoskins) that carry the film with a mild relish (although the dog is cute, I guess). My expectations for this film were fairly middling, where I didn't think it would be a silly time or a particularly moving film - 105 minutes seems okay when it comes to mediocrity, I suppose. Once one gets behind the idea of Travolta playing a rascal from above (complete with wings), the possibilities could be endless (for hilarity or ridicule, you be the judge). It just seems a road movie isn't exactly what one has in mind (especially with how obvious its story beats are). Even a scene of a dog being run over doesnt have a pull, because one knows it's going to be reversed a few moments later anyway. If a film is about the journey and how it gets there, this is one where the journey seems to have a few too many dead ends. It needs more laughs and shocks to really pull something to the skies and above. At least this is the kind of film you could watch a few minutes on television without trouble -before either switching to find a better Travolta lead to view or going to sleep.

Overall, I give it 6 out of 10 stars.

Viva Las Vegas.

Review #983: Viva Las Vegas.

Cast: 
Elvis Presley (Lucky Jackson), Ann-Margret (Rusty Martin), Cesare Danova (Count Elmo Mancini), William Demarest (Mr. Martin), Nicky Blair (Shorty Fansworth), Jack Carter (Himself), and Teri Garr (Showgirl) Directed by George Sidney.

Review: 
Ah, Elvis Presley. I've covered two films in which he had a starring role (#327 - Jailhouse Rock and #523 - It Happened at the World's Fair), with the former being a fine experience and the latter being pretty forgettable. In any case, Viva Las Vegas is a spectacle released in the middle of Presley's career (with this being his 15th film out of the 31 he did from 1956-1969). It has an exotic location, a young woman for Elvis to encounter (and inevitably romance) and a bunch of musical numbers. For the most part, the film excels as entertainment, and it is due to the chemistry between Presley and Ann-Margret. They simply match well on screen together, having a charm and energy that is present in most of the scenes they share on screen, with one of the highlights being their singing of "The Lady Loves Me" in the first half of the film; one of my other favorite highlights is his medley of "The Yellow Rose of Texas" and "The Eyes of Texas", complete with Elvis wearing a big hat. The other parts of the film don't have as much charisma, but the rest of the cast do decent jobs in their roles. The music numbers are fairly good, showcasing its star in the way you'd expect. The story is a simple one (with a short but fine length of 85 minutes), but it doesn't come off as harmful to the goal of the film, which is to have some fun in Vegas with Elvis, which it achieves handily enough.

Overall, I give it 7 out of 10 stars.

Movie Night: Young Frankenstein.

Review #655: Young Frankenstein.

Cast
Gene Wilder (Frederick Frankenstein), Marty Feldman (Igor), Peter Boyle (The Monster), Teri Garr (Inga), Cloris Leachman (Frau Blücher), Madeline Kahn (Elizabeth), Kenneth Mars (Inspector Kemp), and Gene Hackman (Harold, the Blind Man) Directed by Mel Brooks (#061 - Blazing Saddles, #198 - Spaceballs, #248 - Robin Hood: Men in Tights, #361 - The Producers, #364 - High Anxiety, and #623 - Silent Movie)

Review
Yeah, I guess at this point I had to cover this movie, and I have three reasons why: The 40th Anniversary of the movie's release is coming up very soon, It's October, for Pete's (or in this case, Rob's) sake, and...It's been long overdue. Seriously, I should've reviewed this last year, but I just forgot (Of course last October I reviewed 20 films in 31 days, but who's counting?), so I am now rectifying a mistake (Though I know I will undoubtedly make another mistake in the future). The movie is a wonderful parody of the classic Universal Horror films, especially Frankenstein (#072), right down to the black and white shooting. In fact, Kenneth Strickfaden, who made the electrical equipment for the lab scenes for the Universal films (and still had it with him), let them use the equipment for this film, which is highlighted by his name on the credits. But let's get to the part of the review where I just say the movie's really funny because that is the next part, isn't it? Every major actor in this movie has or is involved in a funny scene, especially Marty Feldman (What hump?), who is just so fun to watch move around and gaze upon. I especially like Peter Boyle in this film because his movements and way of speaking as the Monster (especially while singing "Puttin' on the Ritz") is just so charming. The movie flows really well and never misses a beat when it comes to being funny, it has so much atmosphere and so much charm, and that is just perfect for October, or for any month in particular. I urge anyone, if not everyone to go see it, you just have to look.

Overall, I give it 10 out of 10 stars.

Movie Night: Tootsie.

Review #084: Tootsie.

Cast
Dustin Hoffman (Michael Dorsey / Dorothy Michaels / Emily Kimberly / Edward Kimberly), Jessica Lange (Julie Nichols / Nurse Charles), Teri Garr (Sandra "Sandy" Lester), Dabney Coleman (Ron Carlisle, The Soap Opera Director), Bill Murray (Jeff Slater, Michael's Room-Mate), Charles Durning (Leslie "Les" Nichols, Julie's Father), Sydney Pollack (George Fields, Michael's Talent Agent), George Gaynes (John Van-Horn / Dr. Medford Brewster), Geena Davis (April Page), Doris Belack (Rita Marshall), Lynne Thigpen (Jo), and Estelle Getty (The Middle Aged Woman) Directed by Sidney Pollack.

Review
This is one of those classic comedies that always leaves a imprint on you, if not a memory of it. This was my first time watching it, and I feel the film works well. The acting is good, so good for Jessica Lange that she won an Oscar for Best Supporting Actress, actually the whole thing got Oscar Nominations all aroung the board, winning just one. The film is balenced as it is a good film to watch all around.

Overall, I give it 8 out of 10 stars.