Brandon's movie memory

A Bucket of Blood (1959)

“You’re just a simple little farmboy and the rest of us are all sophisticated beatniks.”

I’m always afraid of Roger Corman movies because I figure they’ll be awful, Ed Wood-style catastrophes. But after I reminded myself that he made the great X: The Man With X-Ray Eyes, I rented these two. Both were great, quick and cheap, but very fun and full of weird humor, not the dull, cardboardy type of cheap movies MST3K always mocked (though the show did feature four Corman movies, all from ’57 and earlier). It was only Corman’s sixth year in the movie business, and the twenty-third movie he directed. Shot in five days, and entirely not bad.

Alice and Walter:

Joe Dante fave Dick Miller, in his only starring role, is slightly creepy and socially inept but eager waiter Walter at a super-hip cafe populated by some hammy characters. I was glad to learn that the songs and clothes and beat poetry were intended as exaggerated parodies of the fashions of the time, since I found it all hilarious. Especially good were cafe boss Leonard, who does a nice horrified stagger when he first discovers Walter’s secret, and Maxwell (Bruno VeSota, vet of sixteen Corman pictures) the beardy ultra-pretentious king poet.

Walter accidentally kills his cat (while trying to save it), then an undercover cop trying to bust oblivious Walter for heroin possession (in crazed self-defense), then covers them in clay and is celebrated by the locals for his lifelike “sculptures.”

Walter vs. the undercover cop:

Walter wins:

Determined to stay famous, he starts killing people on purpose – starting with Alice (Judy Bamber of The Atomic Brain), a Marilyn-looking hottie who’s a total bitch to Walter, yet eagerly agrees to pose nude for his next sculpture. Then he murders a random dude with a table saw (“What’s that you got in the box?,” says Leonard to Walter, who is carrying a man’s head in a box – an early influence on Se7en?). Finally he’s given an art show by Leonard – I’m not clear how his plan to keep Walter from killing more people was supposed to work out – and discovered, he chases his crush Carla (Barboura Morris of Wasp Woman and The Trip) into the night until the voices in his head drive him to suicide.

Leonard finds out what’s in the box:

“I suppose he would have called it ‘hanging man’… his greatest work.”

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Little Shop of Horrors (1960)

“Please don’t damage the horticulturalist.”

Opens with a pan across a comic strip drawing and a skid-row detective voiceover. The main flaw with this version versus the musical is that Seymour (Jonathan Haze of Gunslinger and Swamp Women) and Audrey (Mrs. Futterman in the Gremlins movies) are less cute and more annoying. Audrey II’s voice is good but the plant prop and puppeteering are pathetic. But the script is good, and as with Bucket of Blood it’s nice that it’s a comedy instead of a sadly self-serious horror about a man-eating plant.

I did like Mr. Mushnick, New Yorker Mel Welles playing a bearded eastern-europe type. Also good to see Dick Miller again – he’s a regular customer who eats flowers (nicely contrasted with the flower who eats people). The dentist (who is not dating Audrey) is a disappointingly regular looking guy. As the VHS box used to proudly proclaim (“Starring Jack Nicholson”), Jack plays the Bill Murray role, a masochistic patient with two minutes’ worth of groan-worthy dialogue.

As in Bucket of Blood, the first person killed is undercover police (dressed as a railway bum for reasons unknown), so a pair of Dragnet-parody cops keep hanging out at the flower shop, along with two giddy girls who want flowers for a parade float and a woman who wants to award Seymour with a prize for Audrey II. Similar ending to the other movie, really – wimpy guy who’s gained celebrity by killing people in secret gets found out, nighttime chase outdoors leads back to a familiar location where he dies (in this case, eaten by plant).

I didn’t get any Little Shop screenshots, so here’s the cast of Bucket of Blood one more time:

Both movies were written by Charles B. Griffith, later director of the Ron Howard-starring clutch-popping classic Eat My Dust. Netflix disc included Rifftrax commentary, which didn’t work too well since the movie was already a comedy, resorting to rude swipes at the low-budget production.

Scenes with kids in town and school, episodic with a couple more-central characters (I’m thinking of the poor boy with abusive parents who gets rescued by social services at the end). Katy’s favorite part was the girl whose parents went out for dinner without her so she yelled “I’m hungry, I’m hungry” through a bullhorn out her window until the neighbors sent a picnic basket to her window using ropes and pulleys. I liked the double date at the movies, where the meek boy loses out and his friend takes both girls. Also wonderful, an Antichrist-recalling scene with a toddler chasing a cat slooowly out a tenth-floor window, finally falling and bouncing harmlessly upon the ground. It’s frightening at first until I realized (and assured Katy) that Truffaut doesn’t kill children, especially not in a comedy. Ebert liked “the painful earnestness that goes into the recitation of a dirty joke that neither the teller nor the listeners quite understand.”

Ebert again: “He correctly remembers that childhood itself is episodic: Each day seems separate from any other, each new experience is sharply etched, and important discoveries and revelations become great events surrounded by a void. It’s the accumulation of all those separate moments that create, at last, a person.”

Of all the kids, how many went on to further acting careers? Only Eva Truffaut, unsurprisingly. More unexpected is that only a few of the adult actors have any other acting credits. Hairdresser Mrs. Riffle (Tania Torrens) was in The Lover, Lydie Richet (Virginie Thevenet) was in Chabrol’s Cry of the Owl, and new father Mr. Richet the schoolteacher (Jean-Francois Stevenin) played Marlon in Out 1 and more recently appeared in The Limits of Control. Same cowriter (Suzanne Schiffman) and cinematographer as Out 1, too.

Oddly, the U.S. poster I found online says “Roger Corman presents…”

Should’ve been called Pocket Money (French is L’argent de poche) but the name was taken by a Lee Marvin/Paul Newman flick a couple years before. The Truffaut movie plus the Tom Waits “Small Change” album released the same year (the two are unrelated; nobody in the film gets rained on with his own thirty-eight) effectively wiped the Lee Marvin film’s title from the English language… now we wouldn’t dream of naming a movie Pocket Money.

Nominated for a Golden Globe (remember those?) but beaten by Bergman. It’s nice to see shouts-out to Bergman and Truffaut in a year when every actress in Freaky Friday was nominated.

I’ve started an Amazon account to see if I can get any kickback money out of my sucker readers’ online spending. I hate to commercialize, but could use a few bucks, so please click and buy to support cinephilia on the internet.

Actually, the Truffaut DVD is out of print (let’s hope for a cleaner image on the next release), but here’s the just-as-good Tom Waits album: Small Change

I was expecting that this would be very bad, and was hoping to find a few inspired moments or some cool animation to pick out of the wreckage, but then I liked the whole movie so now I don’t know what to write. I don’t get why Brendan Fraser has to be in every single live/animation hybrid flick, but he and Jenna Elfman were just fine in this. Lotta jokes at the expense of movie studios, the Warner Brothers (played by Don & Dan Stanton from Terminator 2 and Gremlins 2), Brendan Fraser, product placement and movie conventions.

Timothy Dalton plays the star of a suspiciously James-Bond-like franchise, and is just-fired studio security guard Fraser’s father. Fraser heads to Vegas with also-just-fired Daffy Duck while studio exec Elfman in league with Bugs looks for them. Note Dick Miller as Fraser’s security coworker.

Tim Dalton turns out to be an actual spy, working against the evil Acme corporation (headed by Steve Martin, who is acting strangely Mike Myers-like in this screenshot.

Good to see Joan Cusack as a secret government scientist (not to mention Robbie the Robot).

Roger Corman cameos, believably enough, as a film director.

Kevin McCarthy reprises his Body Snatchers role – in black and white!

Of course the plot is a thin excuse for a thousand gags and highlight scenes for every major Looney Tunes character. Yosemite Sam and Wile E. Coyote work for Acme, Tweety and Sylvester are Fraser’s neighbors, Marvin Martian is captive in Cusack’s lab, Pepe Le Pew appears in a sidetrack to Paris (where there are Jerry Lewis movie posters all over). Super fun movie… I’m actually so impressed that this was so good, after I’d heard everywhere what a failure it was. Even Dante seems to be making excuses for it in recent interviews (I’m guessing the terrible Scooby/Shaggy cameo is one of the last-minute studio changes he complains about).

Some highlights: a split-screen phone call where the screen effect smashes Daffy:

And a romp through famous paintings at the Louvre… here’s Elmer as Munch’s The Scream:

Turns out the movie wasn’t as universally hated as I’d thought. According to Slate, writer and director were fed up with the studio by the time the movie came out, and neither them nor any of the stars participated in the DVD extras. The NY Times and AV Club sure disliked it, but good reviews were posted by J. Rosenbaum (“I had a ball”) and G. Kenny (“comedy of the year”). After reading a couple appreciations I am anxious to rewatch and look for some of the hundreds of gags I missed. I guess it comes down to how much fun you’re willing to have with it. For instance, some reviewers cringed at Steve Martin trying to be funny again, and called him out as a fraud (as if he’s Robert De Niro in Rocky & Bullwinkle), while others bothered to notice that Martin completely succeeded… David Edelstein:

Steve Martin, moreover, is a miracle. Determined not to be upstaged by his flamboyant Warner costars, he has concocted a “supertwit” that is at times at least their equal. His red hair parted in the middle, he staggers around the set in sneakers and an ill-fitting suit, jerking his torso, windmilling his arms—stopping his gyrations only to saunter up to one of several repulsed women, convinced that he is catnip to the ladies. This is the old Steve Martin, the whirligig genius of The Jerk (1979), The Man With Two Brains (1983), and All of Me (1984). To see him this way after at least a decade of domesticated dreck is to love all the more the liberating influence of Warner Bros. cartoons.

A film worth watching even when Pere Ubu is not performing a live score. The movie doesn’t have a lot of incidental music so they were playing most of the time, and they added some other fun stuff (rimshots at the bad jokes, soundtrack-looping to repeat lines of dialogue). Got applause after an intense few minutes of music when Ray is driving away pursued by a helicopter towards the end.

An intense but oh-so-stiff (like he’s in a trance) Ray Milland (Ministry of Fear, Dial M for Murder, Panic in Year Zero) stars as Dr. X. He has an empty shell of a beautiful doctor friend to fall in love with, two male co-stars who both appeared in Kubrick’s Spartacus, and a shifty manager played by Don Rickles. Plot, he invents an eyedrop that lets you see through things, tests it on himself, accidentally kills his friend, escapes to a circus, becomes a mystical healer (well, diagnose-r) under Rickles’ supervision, is finally hunted down by the cops who chase him to a bible revival tent where he claws his eyes out and does not scream “I can still see!!” over the end title.

Corman wastes so little time on character development that he actually has to pad the runtime to make the movie count as a feature. So we get more bubbling lab equipment at the start, and more blurry perspective shots of Las Vegas at the end (apparently gazing at Vegas through x-ray eyes just makes it look skewed and blurry). Among the blurry bits there’s a repeated shot of a half-constructed building pasted skeletally against a flat sky with X’s narration about watching the city become unmade. This bit conveys the horror of X’s condition far better than the hundred shots of Ray Milland looking nervous ever could, and along with the over-the-top ending it gives the movie a real sense of terror peering out from all the camp and sci-fi silliness, elevates it far above its MST3K-worthy contemporaries.

Because of pacing problems and mostly uninteresting writing and acting and sets, I wouldn’t want to watch X more often than I do, once every three or four years. But I wouldn’t want to watch it any less often either. It’s a crap classic, and I enjoy it every time.