“Raging Bull” (1980) dir. Martin Scorsese

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Martin Scorsese’s 1980 film “Raging Bull” is considered by many to be his masterpiece. While I would argue that “Taxi Driver” or “Goodfellas” earn that distinction more, “Bull” is a great film and genuine cinema classic. On its surface, “Bull” is a biopic about former middleweight champion boxer Jake LaMotta. However, it’s also a biopic of Scorsese himself.

Where this story really begins is in 1976. After the critical and popular success of his film “Taxi Driver,” Scorsese directed an ambitious big-budget musical called “New York, New York,” which was released in the summer of 1977. The film did not fare well with critics or with the public, who flocked to a little film called “Star Wars” instead. Scorsese had his first flop and his drug intake grew increasingly worse. While he kept busy making two documentaries (“The Last Waltz” and “American Prince”), his personal life grew more dark and chaotic.

From Peter Biskind’s fantastic book about 1970s Hollywood “Easy Riders, Raging Bulls”: “Scorsese knew he was acting badly, driving people away from him, but he couldn’t help it. He says, ‘I was always angry, throwing glasses, provoking people, really unpleasant to be around. I always found, no matter what anyone said, something to take offense at. I’d be the host, but at some point during the evening, I’d flip out, just like when I’m shooting.'”

Robert DeNiro really wanted to make “Raging Bull” and Scorsese half-heartedly agreed to direct it, more as a favor to his longtime friend and collaborator. However, he couldn’t find the hook that made him really want to make it. Scorsese’s friend and collaborator Mardik Martin started a screenplay, but Scorsese was no longer listening to Martin’s suggestions and wanted Martin to add a lot of things to the script that had nothing to do with the story. When Scorsese suggested having Paul Schrader (the writer of “Taxi Driver”) come in for a polish, Martin seemed relieved to finally be done with it.

Schrader grudgingly agreed to work on the script, but advised that the script needed a rewrite, not a polish. Schrader had trouble adding depth to a character who he saw as a Neanderthal. Schrader and DeNiro pushed each other in terms of how unpleasant a character could be and have people still care about him. Schrader added a lot of raw, powerful scenes … some of which made it into the final film.

It was at that point that Scorsese got hold of some bad cocaine, which made him cough up blood and black out. He eventually started bleeding out of every part of his body and went to the hospital. He was told he had no platelets, that he was bleeding internally everywhere. The doctor made him stop all drugs and pumped him full of cortisone. Scorsese was in the hospital several days recovering. At that stage, Scorsese had dropped to 109 pounds. Eventually, he got better, but his doctor told him that he would die if he did not change his lifestyle. It was at that stage that Scorsese finally found the hook for “Bull” … the self-destructiveness, the emotional damage to his friends and family for no other reason that some sick desire to bottom out. He realized he was LaMotta.

Scorsese got clean and directed “Bull.” The film did well with critics and at many of the year-end awards (DeNiro won a Best Actor Oscar for his portrayal of LaMotta), but did only so-so at the box office. The film was just too brutal and depressing for most people, and still is. “Bull” is not exactly a film you want to watch after a hard day at work. But it is one hell of a film and keeps growing in esteem over the years. It is roundly considered the best film of the 1980s and many consider it one of the best films ever made.

The attached clip is one of the best scenes in the film. It’s where LaMotta challenges his brother Joey (played by Joe Pesci) to punch him in the face repeatedly and it’s a clear illustration of the depths LaMotta’s self-destructiveness can sink. The scene has elements of dark humor, but it’s incredibly disturbing and depressing at its core. Due to some very rough and beyond politically incorrect language and violence, the scene is absolutely not safe for work or little ones.

“Reliving Groundhog Day” by James Parker (from the March 2013 edition of “The Atlantic”)

I could either try to write about the brilliant 1993 film “Groundhog Day” (and am fairly certain it will come up lacking) … or just let you read this essay by James Parker from this month’s Atlantic Monthly which smartly and succinctly sums up why this film delivers some incredibly deep and complex philosophical concepts in a wonderfully entertaining and sweet package. As Parker says about the lead character Phil, played by Bill Murray: “He learns contentment, and he learns forgiveness, and he learns kindness. He sits in the Punxsutawney diner, happily reading—but he’s not just reading, he’s radiating Buddha-nature. It’s all expressed in the trajectory of his relationship with Rita. He wants her, he tries to seduce her—first with meanness, then by fraud, then with recitations of French poetry and engineered perfect moments. It is only when he gives up, when he accepts the blessing of her company, free from desire—at which point she, too, magically becomes a far more interesting character—that she is delivered into his arms.” That’s as brilliant an evocation of love that I’ve read in a long time.

http://www.theatlantic.com/magazine/archive/2013/03/reliving-groundhog-day/309223/

The ending of “The Last American Virgin” (1982) dir. Boaz Davidson

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“The Last American Virgin” was Cannon Studio’s attempt to cash in on the monster success of “Porky’s” which came out in the Spring of 1982. Despite a few amusing moments, the film isn’t particularly good or memorable … except for the ending. The ending is what most people remember about the film and it’s what made the film a standout. If you don’t like spoilers or have the intent to see the movie, stop reading.

Among lots of de rigueur crude shenanigans, there is a main story. The lead character Gary has a crush on Karen, who subsequently hooks up with his friend Rick. Rick gets her pregnant and then dumps her. Gary sells all of his possessions and even borrows money from his boss to help her pay for an abortion. He expresses his love for her and she invites him to her birthday party. He buys her a locket and then arrives at the birthday party … to discover that Karen is back in Rick’s arms. As James Ingram’s “Just Once” plays (“I did my best … but I guess my best wasn’t good enough”), Gary leaves the party, quietly crying while driving away. End credits roll.

OK, this plot is not the most original ever written, but for a generation who watched this on cable or on VHS at an impressionable age, it was a major buzzkill of an ending (for an otherwise lighthearted film) and lingers to this day as one of those moments where you hang your head and quietly say “Damn.”

What many people don’t know is that “Virgin” is an American remake of a 1978 Israeli film called “Eskimo Limon” (aka”Lemon Popsicle”), which was also written and directed by “Virgin” director Davidson.  “Limon” has the exact same plot as “Virgin,” but takes place in Israel during the 1950s and has a killer 1950s soundtrack.  “Limon” was a huge box office hit in Israel and did well in Europe and Japan.  It was also nominated for Best Foreign Film at that year’s Golden Globe awards (it lost to Ingmar Bergman’s “Autumn Sonata”).  It also features an early performance by Johnathan Sagall, who went to act as Poldek Pfefferberg in Steven Spielberg’s “Schindler’s List.”  “Limon” is available on Netflix Instant (though, I believe it’s listed as “Lemon Popsicle”) and the English dubbed version has been posted in its entirety on YouTube if you’re feeling particularly ambitious.

“American Boy: A Profile of Steve Prince” (1978) dir. Martin Scorsese

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During Martin Scorsese’s notorious “lost weekend” period when he had a serious cocaine problem, he still managed to produce a lot of interesting films. With the exception of the big-budget musical “New York, New York,” the documentary about the Band’s last concert, “The Last Waltz,” is probably the most famous and highly regarded. However, the least known (and arguably, best) film from this period is Scorsese’s documentary “American Boy: A Profile of Steve Prince.”

Prince is probably most famous as the scary gun salesman in “Taxi Driver,” but prior to that he was Neil Diamond’s road manager (among other jobs) and was a heroin addict. During one moment in the film, Prince relates a tale about reviving a woman who overdosed with a medical dictionary, a shot of adrenaline, and a magic marker that’s … um … very similar to a scene in the Quentin Tarantino’s 1994 film “Pulp Fiction.”

The film is a fascinating look at the life of someone on the edge … a life that Scorsese obviously identified with considering his drug-intake and near-death at the time. Not only did Scorsese survive (and subsequently make many classic films), but so did Prince, who was the subject of a sequel in 2009 called “American Prince” directed by Tommy Pallotta.

“Flooding with Love for the Kid” (2010) dir. Zachary Oberzan

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Artists typically fall into two categories: dreamers and doers. While it’s important to have a dream, it doesn’t mean anything if it just stays inside your head. Zachary Oberzan is a doer.

Oberzan saw the movie “First Blood” back in the early 1980s. “First Blood” is the Sylvester Stallone Rambo film most critics call “the good one.” Oberzan was such a fan of “First Blood,” he picked up the David Morrell novel on which the movie was based and was blown away even more. The novel, far more complex and nuanced from the resulting film, gave Oberzan the dream to one day make a more faithful adaptation of Morrell’s original book.

Unfortunately, since the Rambo series took on a much different tone with the second film (where Rambo rescues POWs from Vietnam), a tone that proved to be very popular with 1980s era audiences, there was not much hope someone would ever do a more faithful remake of the original book.

Normally someone with Oberzan’s dream would try to wrangle the rights away from the copyright holders, convince financiers to invest several millions of dollars, find bankable actors to carry the movie, find a distributor, and then release the film. Even when said process runs smoothly, it can take several years, and oftentimes the end result is a film that’s never released, let alone made.

Oberzan said “F–k all that!” and just did it himself … in his 220 square foot New York City apartment … with a home video camera … and a total budget of $96. Oberzan not only wrote, directed, shot, and edited his adaptation, but also performed all of the acting roles. The result is one of the most compelling films I’ve ever seen.

On first glance (especially from the trailer), Oberzan’s adaptation, called “Flooding with Love for the Kid,” seems completely insane and ridiculous, like Ed Wood directing the Max Fischer players from “Rushmore.” However, once you get over the shock over how the film looks and plays, you start to pay attention … and then you find yourself riveted.

This will likely never wind up on anyone’s list of greatest films ever made. But Oberzan, using tools most of us have access to … but would never use … even if some of us filmmaking dreams, made a completely fascinating and exciting feature length film. He does such a great job with what he had to work with, it makes you wonder what he could do with a bigger budget and better tools. Oberzan is not only someone to watch, but his story is an inspiration to artists everywhere.

If you’re interested, check out Oberzan’s website which provides more details on how you can order the film:

http://www.zacharyoberzan.com/title.html

“Putney Swope” (1969) dir. Robert Downey

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Robert Downey Jr.’s father Robert Downey Sr. is one of the best and most subversive filmmakers of the last 50 years. “Putney Swope” is considered his masterpiece and it’s an extremely funny (albeit very odd) satire on race relations, the media, and the world of advertising.

When a CEO for a large advertising firm dies from a heart attack, the sole African-American member of the board, Putney Swope (played by Arnold Johnson) gets accidentally elected CEO unanimously by the other board members. This is due to the white board members voting for Swope as a tactic to prevent one of their rivals from getting elected, not realizing that everyone else is doing the same thing. As soon as Swope gets elected, he fires everyone and changes the name of the company to Truth and Soul.  The commercials Swope’s new company produces are a huge success, mainly due to their frequent profanity and nudity.  However, despite the new changes and Swope’s promises to do things with more honesty and integrity, he turns out to be just as corrupt as his predecessors.

The tone of the film is very bizarre and when you first watch it, it will take a while to get used to it. However, once you do, you’re in for quite a ride.  No matter what you hold sacred, this is a film WILL offend you, even though you’ll probably find yourself in hysterics. It’s a film that never fails to make me nearly piss my pants laughing. A subversive comedy masterpiece

P.T. Anderson is a huge Downey Sr. fan, not only hiring Downey for a small, but pivotal role in “Boogie Nights” (the recording studio owner who says “YP” and “MP”), but also naming Don Cheadle’s character “Swope” and having a character randomly throwing firecrackers in the air for no reason.

In this clip, the man in the Arabian headdress is none other than Antonio (Huggy Bear) Fargas.

This clip shows two of Swope’s commercials.  The first one is not safe for work due to some brief nudity.  The second one features actress Martha Plimpton’s mom (Shelley Plimpton) in a politically incorrect singing duet with her African-American boyfriend, played by 70s pop star Ronnie Dyson (“Why Can’t I Touch You?”).

“Who’ll Stop the Rain” (1978) dir. Karel Reisz

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Based on the 1975 National Book Award-winning novel “Dog Soldiers” by Robert Stone (which was subsequently voted by Time Magazine as one of the 100 best novels between 1923 and 2005), “Who’ll Stop the Rain” is a dark, nail-biting film about drug running, Vietnam, and the decline of the counterculture into crime and violence. It stars Nick Nolte as a merchant marine sailor who agrees to smuggle a large quantity of heroin from Vietnam for a journalist friend played by Michael Moriarty. Things go south fast, with thugs hired by a rogue DEA agent in hot pursuit. So, Nolte grabs the heroin and Moriarty’s drug-addicted spouse (played by Tuesday Weld) and hits the road. The result is a surprising amount of well-staged and suspenseful action for a film this bleak in its look at human nature.

The direction by Reisz and performances by all parties, including Nolte, Moriarty, Weld, Anthony Zerbe, Ray Sharkey, and Richard Masur, are excellent. This is an extremely gritty and violent psychological thriller that would never be greenlit today by a Hollywood studio. Even back in the 1970s, the distribution branch of United Artists detested the film because the film’s main hero (Nolte) is a drug runner and virtually dumped the film, despite its acclaimed director, cast, literary pedigree, and it was one of the films selected to compete for that year’s Palme d’Or at the Cannes Film Fiestival. It’s sad this film never found its audience, because it packs a wallop, both viscerally and emotionally.  This is 1970s cinema at its best.

“Midnight Express” (1978) dir. Alan Parker, scr. Oliver Stone

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When you’re making a feature film about a real-life event, it’s difficult to do justice to that event in just two hours.  People and events need to be combined, placed out of order, or removed entirely, in order to make a dramatically interesting film.  I understand that and am very forgiving most of the time… except I find it hard to do with “Midnight Express.”

“Midnight Express” is a 1978 film about Billy Hayes, an American college student who got arrested in Turkey trying to smuggle four pounds of hashish out of the country.  The film was highly praised, was nominated for six Academy Awards (including Best Picture), won an Oscar for Best Musical Score and Best Screenplay (Stone’s first Oscar), and won Best Picture at that year’s Golden Globe Awards.  It’s an extremely riveting and disturbing film, not only for the horrors Hayes faces in a foreign prison, but also because of the Turkish justice system.   He was initially sentenced to five years in prison, but then laws changed while he was serving his time, was retried, and then given 30 years.  Hayes made a daring and harrowing escape into Greece (a country which has traditionally not gotten along with Turkey), who then deported him back to the United States.

If you know nothing about Hayes’s real story, the film will shock you to your very core and will leave you severely wrung out by the end.  The film plays like one of the scariest horror films ever created.  It’s expertly directed, edited, scored and acted, with a classic performance by Brad Davis, who plays Hayes.   However, if you read the original book on which the movie was based, you start to appreciate the film much less.  There’s many similar events, but the film reedits them, puts them in a different order, and then invents many events to make the film more interesting.  Per Wikipedia, here are some of the main differences:

  • In the movie, Billy Hayes is in Turkey with his girlfriend when he is arrested, whereas in the original story he is alone.
  • The attempted rape scene was fictionalized. Billy Hayes never claimed to have suffered any sexual violence at the hands of his Turkish wardens. He did engage in consensual sex while in prison, but the film depicts Hayes gently rejecting the advances of a fellow prisoner.
  • The scene where Billy attempts to escape from the Turkish police and is recaptured by “Tex”, the shadowy American agent, did not happen. ‘Tex’ was a real person Billy encountered after his arrest, who indeed pulled a gun on him, but that was when they were riding in the police car from the Istanbul airport to the police station after Billy attempted to sneak out of the car while it was stopped at a red traffic light. In the book’s account, Tex drove Billy to the police station where he dropped him off and Billy never saw him again. It was a Turkish policeman who translated for Billy during his interrogation with the Turkish detective.
  • Although Billy Hayes did spend seventeen days in the prison’s psychiatric hospital in 1972, Hayes never bit out anyone’s tongue, which led to him being committed to the section for the criminally insane in the film.
  • In the book’s ending, Hayes was moved to another prison on an island from which he escapes eventually, by swimming across the lake and then traveling by foot as well as on a bus to Istanbul and then crossing the border into Greece.  In the movie this passage is replaced by a violent scene in which he unwittingly kills the head guard who is preparing to rape him. In reality, Hamidou, the chief guard, was killed in 1973 by a recently paroled prisoner, who spotted him drinking tea at a café outside the prison and shot him eight times.

In other words, the film’s most dramatic moments were either completely fictionalized or distorted to such a degree that the alterations significantly sour whatever power these moments had.  In addition, the way in which the Turks are portrayed by the filmmakers (corrupt, sadistic, sexually violent) is scarcely better than the way Southern whites were portrayed in “Deliverance” or African-Americans were portrayed in “The Birth of a Nation.”

What’s particularly interesting is that even Hayes’s original book doesn’t even tell the complete story.  Hayes has recently given a new version of events that paints a different picture than the one he gave in the book.  Per Hayes’s most recent account, the time he got arrested was not his first time smuggling drugs out of Turkey.  He actually had done it several times before.  Also, one of his friends was murdered trying to get Hayes out of prison.  I would imagine these things were left out because Hayes was very afraid of being brought up on new charges, but given the statute of limitations, he has now told the complete story, which can be seen here in its entirety (from National Geographic’s “Locked Up Abroad”):

Hayes has now expressed deep regret with how the movie distorted his story and even returned to Turkey to publicly apologize for how the film painted their country in such a bad light.  In 2010, Hayes, Stone, and Parker returned to Turkey to watch the film with Turkish prisoners and discuss the film.   It’s a good thing the filmmakers have taken responsibility for this, but it’s unfortunately too little, too late.  The film’s popularity over the years has done a lot of damage to the world’s view of Turkey.

“Drugs” – Eric Bogosian (from the 1991 film “Sex, Drugs, Rock & Roll”)

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A brilliantly funny monologue by Eric Bogosian, this time portraying an arrogant, aging rock star who is now pursuing sobriety. Bogosian is terrific at portraying unreliable narrators and he positively nails the sanctimonious nature of this type of character. Very reminiscent of Sarah Silverman.

“She Was Hot” – The Rolling Stones

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One of the better songs from the 1980s era Rolling Stones, this was from the Stones’ decent but uneven 1983 album “Undercover.” The “hot” woman in the video is Anita Morris, who first gained fame starring in the original Broadway version of “Nine” and subsequently played sexy women “of a certain age” in many 1980s films (“The Hotel New Hampshire,” “Ruthless People”). It’s nice to see the Stones let a sexy older woman be the object of lust instead of the usual young bimbo. Sadly, Morris died of ovarian cancer in 1994. So, in honor of Ms. Morris and sexy older women everywhere, I’m raising a glass in tribute.

The video here is the uncensored version which was edited for MTV. From what I remember, the cut parts were the buttons flying off the pants of someone watching Ms. Morris and fire shooting out of her ass. Maybe there was more, but it’s been nearly 30 years since I watched this video.

Trivia note: this was Martin Scorsese’s original song choice to underscore the cocaine-helicopter freak-out scene from “Goodfellas.” However, he chose Harry Nilsson’s “Jump Into the Fire” instead, because the scene in the film took place in 1980 and “She Was Hot” came out in 1983. Scorsese advised he only uses songs that could have been out / released at the time a scene would take place. I think the Nilsson choice was better, but “She Was Hot” would have played wonderfully in that famous scene.