Brandon’s movie memory

Whew, a not-too-good late-70’s-looking thriller with hardly any thrills, this wasn’t nearly as good as I’d hoped it’d be. Funny how in a week I went from watching John Cassavetes masterpiece Faces to watching a movie that ends with John Cassavetes exploding.

Boom!!:

Movie opens in “Mid East 1977.” Kirk Douglas (below) loses his psychic son Robin to evildoer Cassavetes who subjects him to experiments we’re barely shown for reasons we are never told (and JC doesn’t seem to sweat it when Robin is killed at the end). Kirk goes deep undercover to rescue his son, enlisting Carrie’s Amy Irving (who gets killed by a car in a botched escape) and psychic troubled girl Carrie Snodgress to help him infiltrate the secretly Cassavetes-backed psychic rest home run by Charles Durning (the president in Twilight’s Last Gleaming). Kirk finds his son but Robin has turned evil and they both plummet to their deaths from the roof. Carrie is miffed and explodes John Cassavetes again and again from fifty-six different camera angles.

A brief timeline of stories featuring psychic kids and exploding bodies:
- Carrie (King, 74)
- The Fury (John Farris, 76)
- Carrie (De Palma, 76)
- The Fury (De Palma, 78)
- Firestarter (King, 80)
- Scanners (Cronenberg, 81)
- Firestarter (Mark Lester, 84)

One of those cool De Palma signature perspective shots:

Cassavetes (you can tell he’s evil by the black-gloved hand in a black arm cast) with Charles Durning:

Robin (Andrew Stevens, vet of 70+ crappy movies) looks like he’s wolfing out, but really he’s hanging off a rooftop from his father’s arm full of psychic rage:

Whoa, I thought I knew lead actor John Marley, but I guess I’ve only seen him in The Godfather. Definitely know Gena Rowlands, the greatest of all actresses, as John’s new girl. Lynn Carlin is best known for this, and was oscar nominated for it, as was Seymour Cassel in his first big part, looking very young and smooth as Chet.

Cassavetes’ second canonical film after 1959’s Shadows, although he directed some others in between and co-wrote Too Late Blues.

Film looks terrific, all blown-up grainy b/w, sometimes a nice long take to let an actor’s piece play out, but it seems less like an improv than Shadows was. Wouldn’t mind reading up on Cassavetes to see how the film was conceived and constructed.

In short: Richard and Maria are rich, bored, and have no sex life, so Richard leaves her for Jeannie and Maria has an affair with Chet the same night, but they end up at home together, not exactly reconciled, but maybe resigned. Ruminations on love, sex, fidelity, aging, and being too obsessed with yourself and your wealth to have a real human relationship.

Supremely non-entertaining, an honest and hurtful film, one of the best I’ve seen.

Some faces: