“Dead Presidents” (1995) dir. The Hughes Brothers

Video

Next week, Allen Hughes, one half of the dynamic filmmaking duo The Hughes Brothers, will be releasing his solo directorial debut “Broken City.” I don’t know if it will be any good, but if any of the Hughes Brothers’ prior films provide any indication as to “Broken City”‘s potential quality, it’s going to at least be interesting, if not, pretty damn good.  At this time, I’d like to give a shout-out to their most underrated film.

“Dead Presidents” was the Hughes Brothers follow-up to their explosive debut “Menace II Society.” “Presidents” is an ambitious redux of “The Deer Hunter,” but from the African-American perspective. It was based on one of the stories from Wallace Terry’s groundbreaking oral history of the African-American experience in Vietnam, “Bloods.”

The movie did not get particularly good reviews and was only moderately successful when it was released. Even someone from the Criterion Collection, who released a terrific deluxe special edition laserdisc at the time, opined that it was a mistake to give the Criterion treatment to this film. Sorry, I have to cry “Bulls–t!” on all of that.

“Dead Presidents” is not a perfect film, but it’s pretty sensational nonetheless. It has great performances by Larenz Tate, Chris Tucker, and Keith David, has some extremely harrowing scenes that are hard to shake from one’s memory, and really conveys a strong sense of desperation and anger of the working class, post-Vietnam. The scope and depth of this film is truly magnificent. When you consider that this film was directed by 22-year-olds, you almost want to kick the a– of anyone who dismissed this back in the day.

This is an underrated masterpiece that deserves rediscovering.

“Pink Flamingos” (1972) dir. John Waters

Video

https://www.youtube.com/watch?v=tE9-eh1bWOc

Back when I was 12 years old or so and would be allowed to go off on my own at the local shopping mall, I used to spend a lot of my time at Walden Books. Every time I went, I used to peruse a huge book by Danny Peary called “Cult Movies.” For any of those who don’t know what this book is/was, it was the first major book to look at the phenomenon known as cult movies and examine these films from a critical, but non-judgmental viewpoint. Peary looked at a wide range of cult films, from the obvious (“Harold and Maude,” “Rocky Horror Picture Show”) to the classics (“Casablanca,” “Citizen Kane”) to … “Pink Flamingos.”

Peary included a lengthy synopsis of every film and the description of what happens in “Pink Flamingos” had me convulsing in laughter.  The film is about two families competing to be “the filthiest people alive.”  It’s about people who do all the wrong things and are defiantly proud of them. For someone who painstakingly always did the right thing, reading about this film and its characters made me levitate.

This film was like a holy grail for me for several years. The film was released on video in the early 1980s, but no video store located near me carried it. The local art house maybe showed it as a late night film only occasionally … but also had strict age requirements. It wasn’t until the summer before my last year of college that I finally found a video store that carried this and I rented it along with a lot of other Waters films that I had read about, but had never seen.

My initial reaction? Very disappointed, especially after all the build-up in my mind and not being able to see it for years. This isn’t a slam on the film. It’s just that nothing could have lived up to what I had expected this film to be in my mind. I actually preferred (and still prefer) Waters’ follow-up “Female Trouble.”

However, I saw it in a theater during its 25th anniversary in 1997 (when it was officially rated NC-17 for “for a wide range of perversions in explicit detail”) and finally appreciated it. “Pink Flamingos” is a film that works best watching it with lots of others, where you’re all sharing the collective embarrassment of seeing the most outrageous and disgusting human behavior together.

I still don’t think this is Waters’ best film, but it’s still pretty funny. This clip is one of my favorites. And while the characters are fully clothed, the language is pretty rough, so it’s definitely not safe for work. You gotta love those Delmarva accents.

“(I’m Not Your) Stepping Stone” – Sex Pistols

Video

https://www.youtube.com/watch?v=3x3c1oFNSc4

The Pistols cover the Monkees. One of my all-time favorite covers and one of my all-time favorite Sex Pistols tracks. From “The Great Rock n’ Roll Swindle” soundtrack (though, for the life of me, I can’t remember where or when the song appeared in the film).

“Crimes and Misdemeanors” (1989) dir. Woody Allen

Video

https://www.youtube.com/watch?v=xubKqMY2tPg

My favorite Woody Allen film is the thought-provoking, but despairing and chilling 1989 drama “Crimes and Misdemeanors.” In a modern-day update of “Crime and Punishment,” Allen explores the same themes of Dostoevsky’s classic, but comes to some different conclusions. In the world of Allen’s film, guilt does not always provoke a man to do the right thing, shallowness wins out over earnestness, and tellingly, the film’s most decent character (a rabbi) gradually goes blind by the end of the film.

Martin Landau is arguably the film’s lead, but was nominated for Best Supporting Actor instead of Best Actor that year at the Oscars. As much as “Ed Wood” is one of my all-time favorite films, Landau should have gotten his Oscar for his role as the morally conflicted doctor in “Crimes and Misdemeanors,” instead of his role as Bela Lugosi in “Ed Wood.”

Even Allen doesn’t spare himself. He plays a variation on the sometimes lovable neurotic he’s played in countless other films, but removes the “lovable” part. His character is like someone who never matured beyond his college years and his character’s pathetic stabs at being meaningful are seen as petty and grossly naive and immature.

The scene at the attached clip is one of the pivotal moments of the film, when Landau’s character goes back to the house where he grew up and flashes back to an intense discussion during a seder about faith, the nature of evil, and whether God has any meaning.

While critically acclaimed at the time of its release, it doesn’t get much mention these days. This is one of the best films of the 1980s and is in serious need of rediscovering.

“Piss Factory” – Patti Smith

https://www.youtube.com/watch?v=0AQGTU15RBI

This is the B-side of Smith’s amazing “Hey Joe” cover / debut single.  Yes, if you’ve heard this, your first reaction is likely “This was a B-side ?!?!?”  One of the most brutal and despairing looks of blue-collar life ever.  And having worked on an assembly line, Smith knew and lived this s–t!

“Hey Joe” – Patti Smith

One of the best covers of all time.  This was Smith’s debut single and almost 40 years later, is still a stunner.  Smith reimagines “Hey Joe” as a song about Patty Hearst and her band gradually ratchets up the tension as the song progresses.  Driven by piano and some of the absolute sickest and most intense electric guitar ever recorded, the song explodes into a frenzy of sex, violence, and revolution.  It’s so mind-blowingly intense, it’s easy to see why some critics were actually disappointed by her (damn good) debut album “Horses” which came out a year later.

“Bring the Noise” – Public Enemy and Anthrax

https://www.youtube.com/watch?v=RBA-xi8WuCU

Public Enemy teams with trash metal pioneers Anthrax for a slammin’ remake of PE’s “Bring the Noise” from 1991.  If your head isn’t bangin’ or your fist isn’t in the air while listening to this, you’re not alive.

“(Your Love is Like) Nuclear Waste” – Tuff Darts

https://www.youtube.com/watch?v=UlpW6lCVuSs

One of the least heralded bands of the late 1970s CBGB punk scene, the Tuff Darts still put together a pretty good album for Sire Records at the time.  This is arguably their most famous song and if you’re a fan of Ugly Kid Joe’s “I Hate Everything About You” (Dave sheepishly raises his hand), you’ll like this song.  A bit obvious and stoopid, but still pretty fun.  Trivia note: rockabilly legend Robert Gordon was a member of the Darts before this album came out and before his later renown as a solo artist.

“Max’s Kansas City” – Wayne County and the Backstreet Boys

Here’s the punk version of Arthur Conley’s “Sweet Soul Music.”  Wayne (now Jayne) County gives a special shout-out to one of the preeminent underground music clubs of 1960s-1970s NYC, as well as all of the NYC punk icons of the day: Patti Smith, the Ramones, the Talking Heads, Johnny Thunders and the Heartbreakers, the New York Dolls, Pere Ubu (yes, they’re from Cleveland, but they deserve a shout-out), Lance Loud and the Mumps, Richard Hell, Television, Tuff Darts, etc.  And no, the Backstreet Boys who backed Wayne up are not the barely pubescent, New Millenial bad-facial hair boys who want it THAT way.

“That Obscure Object of Desire” (1977) dir. Luis Bunuel

https://www.youtube.com/watch?v=9xyedMel424

This trailer is admittedly lame, but Luis Bunuel’s final film “That Obscure Object of Desire” is pretty awesome.  This is a very infuriating film if you take it literally.  However, if you groove on the subversive surrealistic groove that Bunuel is emanating, it’s very very funny.  The film’s premise involves a middle-aged man (brilliantly played by Bunuel stalwart Fernando Rey) who meets an enticing young woman (played enticingly by both Carole Bouquet and Angel Molina … more on that below) who seems to be into the older man.  However, the young woman’s affections run from hot to cold to hot to cold to hot … to cold … to …   And, understandably, the older guy gets increasingly frustrated.  Hilarity … frustration … violence … what have you … ensues.

I remember seeing this in a college film class and the men in the audience went completely bats–t crazy over the machinations of the female lead.  When the older man (finally) fights back, the men in the audience erupted in thunderous applause.  Words like “bitch” and maybe the c-word were heard bandied about in the auditorium.  I can’t say I was that evolved as a human being when I saw the film, but even then, I felt a little weird sitting there with that going on.   And yes, that sort of reaction works if you look at the film literally.  But if you look at the film literally, you also have to admit that lead male protagonist is a complete putz and not worth defending on any level.  The fact that the female lead is played by two different actresses only emphasizes the lead male character’s frustration about never really knowing the woman who is his obscure object of desire.  Bunuel’s reason for casting two different women as the lead?  One of the actresses had to bail halfway through filming and Bunuel had to hire another actress.  However, based on the theme of the film, it totally works.

This is one of Bunuel’s best films and a wonderful cap to a splendid career of f–king with moviegoers.