P-Bog’s first (official) feature is a doozy, following two stories and expertly building tension until they collide at the end. I’d seen P-Bog’s latest movies, She’s Funny That Way and the Tom Petty doc and The Cat’s Meow, but none of his most famous work, so I checked this one out for Shocktober.
Cranking out a cheapie thriller with Boris Karloff, P-Bog himself plays film director Sam who cranks out cheapie thrillers with Byron Orlok (Boris Karloff) – although the Orlok pictures look like more generic costume/castle/monster flicks (Corman’s The Terror, specifically), while Targets is up to something else entirely. After his latest screening, Sam is plotting something new, a more self-reflexive movie which will use Orlok’s star power in a different way, but Orlok is sick of it all and decides to retire immediately (Sam: “I’m gonna go offer it to Vincent Price”). Orlok will go back and forth over the next day, finally agreeing to read the new script and un-canceling his speaking appearance at the local drive-in.
Meanwhile, Bobby (a clean-cut Matt Damon-type) has a bland life with his mom, gun-nut dad (James Brown of Objective, Burma!) and inattentive wife (he tries to tell her he “gets funny ideas”, but she fatally doesn’t listen). After calmly scouting locations, he shoots his wife and mom, leaves a note for the police then heads out on a murder rampage, first targeting highway drivers then positioning himself behind the drive-in screen. He starts shooting spectators – real violence erupting from behind/inside a horror film – until Orlok marches over and slaps him down.
Long takes, unusually naturalistic movie, complete with stumbled lines and people talking over each other. Orlok/Karloff watches himself in Howard Hawks’s The Criminal Code and Sam comments “all the good movies have been made.” Fascinating blend of P-Bog’s cinephilia and realistic violence (based on a California sniper attack a couple years prior). Uncredited script work by Sam Fuller, apparently, and shot by the great Laszlo Kovacs.
Struck this time by how mercilessly this Corman-produced quickie portrays the banality of evil. One of the finest treatises on the subject, in addition to how viewing movies as an escape is an outright denial of their much more ambiguous function in society.