There’s the films you watch and admire – Chinatown, say, or The Godfather or Raging Bull or Scum. Then there’s the films you can put on and you know all the dialogue but they’re like faithful companions. I mean, I know all the bits in Revolver but that’s never going to stop me giving it another spin (if FLAC files spin). These films are your duvet-day entertainment, what you stick on when you come home drunk before falling asleep on the couch, the ones you swap lines with friends unto infinity. For people of a certain age, you might still raise a chuckle at “Shut your fucking face, uncle-fucker!”, or it might be “We have both kinds, country and western,” or “I know that penis – it had a mole on it!” or “The one with Bad Motherfucker on it” or even “Yes, it’s true – this man has no dick”.
I’ve quite a collection of these. I like, as Mr Keating said in Dead Poets Society, to “suck the marrow” out of the things I really get into, to really understand them- but also just because they become part of me.
You remember how people used to have video cabinets filled with VHS tapes? As in the blank ones they’d tape films onto. When I was a nipper we had about a dozen, all numbered with a small notepad I used to keep track of what was there. (Even then I was anal retentive about organising my entertainment…). We also had a smaller collection of bought VHS tapes, with the cover and all. These included Queen’s Greatest Flix, The Best of Hot Chocolate (my mum really likes Errol Brown), The Making of Michael Jackson’s Thriller (my sister was the Jacko fan), and Rocky II. On Saturday mornings me and my siblings would get up and watch the Stallone tale of Balbao’s descent into poverty, his half-assed training, Adrian’s coma, his redemptive (and quite brilliant) training montage, and his rematch with Apollo Creed. It’s all character-based and pretty slow moving until the montage and fight – so with the patience of kids (i.e. none) we’d most often just skip the boring bits to the exciting ending. Still, I really do think this is a very good film (for what it is) – very much better than Rocky, which better works as a concept rather than enjoyable film, and is of course far superior to the subsequent films in the series, where Rocky becomes an absurd superhero. And goddamn that montage – the music is so stirring, slow-building on the brass and climaxing on the strings. Fucking outrageously manipulative but so well done!
I was literally just watching this today for, I don’t know, the hundredth time. It is just so well done. The plotting is extraordinarily efficient for one thing: at the beginning, they flee the ghost in the library back to Columbia only to find the Dean evicting them. Dana Barret watches the Ghostbusters ad on TV right before her fridge has a nervous breakdown (I was tempted to say “meltdown”). The newscasts letting us know (without having to have any further big-budget special effects) that the ‘busters have been busting lots of ghosts. Compare with the absurd lengthiness of post-2000 blockbusters – this is lean and sharp, just how a film like this should be. The characterisation is wonderful: I just love Egon and his semi-autistic geekiness, while sweet lovable Ray is just right for Dan Akroyd, and Bill Murray… this is probably his most quintessential role, no? At least in his earlier wise-cracking incarnation before he became the prototypical alienated, mildly depressed, existential-doubt type in Lost In Translation (though see also Jack Nicholson in About Schmidt). The ghosts and other supernatural hokum is played for fun but with intelligence rather than mickey-taking. (Dan Akroyd is a fully paid-up Spiritualist). Ghostbusters is a film that’s just great fun and filled with endless quips (“Listen – do you smell something?”).
The Empire Strikes Back
I’m not really a Star Wars geek. No, really. I am not in general big on sci-fi, which I find humourless and not character-driven, which are two things I find essential in films (not necessarily in conjunction). But goddamn this is a fucking brilliant film, so rich in drama, stuffed full of major motifs like OEDIPAL CONFLICT and BETRAYAL and REDEMPTION. The characters are complex and recognisable (I am sure we have all met Leia’s and Luke’s, though perhaps not Boba Fett or Yoda); the special effects are stunning (oh god, the blu-ray version is magnificently detailed) but organic, with no artificial CGI sucking the life out of it; and the set piece action scenes are terrific: the lighting in the picture below is so well done.
Empire Strikes Back is just a film I can watch again and again and again. (Can’t really say the same about the other Star Wars films!)
I first saw Weird Science about the time that I got Appetite For Destruction, and the two have long felt to some extent complementary in my mind. I used to watch it repeatedly watch it with a friend with whom I’d bonded over GN’R, and we’d drool over how great the parties were and how hot the chicks were, man, and how awesome it must be to be 18 and be able to drink and have sex and drive and have tattoos and shit. We were essentially pretty much like Gary and Wyatt, in reality, but that went unsaid. For young boys (we must have been about nine years old), the film just seemed to hit everything we ever dreamed about. Aaah, such naive stupidity. Great film though: Bill Paxton in scene-stealing form as the vicious older brother Chat, Kelly LeBrock as the hottest woman ever, with those Brigitte Bardot lips, the mutant bikers from hell, Gary’s terrible parents, Wyatt’s even worse parents, the great soundtrack, the sense of teenage kicks… damn, I watched the fuck out of this film.