Movies on DVD
Fearless editor Jette has indulged my love for classic film by allowing me to look into older movies which have Texas connections -- mostly through the people involved in making them. We'll call this new column The Stars at Night (thanks to my sister for the title idea). For my first selection, I chose a Joan Blondell film. Blondell's family lived in Texas during her teenage years -- she was even crowned Miss Dallas once upon a time.
The beautiful blonde with big eyes and a wry delivery tended to be placed in supporting roles during the half-century of her career. I hoped that with her top credit in 1932's Three on a Match, Blondell would have a larger role here... but no such luck. The melodrama includes such notables as Bette Davis and Humphrey Bogart, along with Blondell, in the cast. However, it is early enough in their careers that they are all stuck in side roles.
Blondell plays actress Mary, introduced as "not a bad girl ... just not serious enough." Davis is secretary Ruth, and Ann Dvorak overacts as wealthy wife Vivian. Three on a Match speedily runs us through their days together in primary school up through the current year. Montages of obscure news events and headlines are shown between segments to set the year. Giving the screenwriters some credit: Film was still in its early days in 1932, so it's not as if they knew a better way to show the passage of time. Or maybe they just loved the idea of montages. Director Mervyn LeRoy shot five other movies that year (including the much better-known I Am a Fugitive From a Chain Gang), so it's doubtful he had much extra attention to give Three on a Match.
For decades, the vast and beautiful land of Texas has been used as the backdrop for dozens of feature films, spawning beloved classics from virtually every genre. Yet when it comes to horror, it seems that the one title most associated with the state remains Tobe Hooper's masterful The Texas Chain Saw Massacre (1974). A great film which, without question, will live on, Chainsaw was one of the first instances which successfully portrayed the wide-open spaces of Texas as potential landscape of sheer terror.
In the years following the film's impact, a variety of features -- most notably a number of Chain Saw sequels/remakes -- have continued to paint Texas as a rich setting for some truly inventive and fright-filled tales. In time for Halloween, and in celebration of the Texas-set 2014 remake of The Town That Dreaded Sundown (currently in limited release and on VOD), here are a few titles that have, in their own way, given a chilling new face to the Lone Star State. Put together your own Texas-themed horror night sometime soon with these movies.
Shot and released two years after Chain Saw, 1976's The Town That Dreaded Sundown is a retelling of a true story that had plagued a small Texas town in post-war America. In the small community of Texarkana, a hooded killer known as the Phantom stalks and kills various citizens in unpredictable ways while continuously eluding authorities. Shot in the almost documentary-like style common with independent films of the decade, The Town That Dreaded Sundown was one of the first horror films closely based on true events; a fact the film relishes with matter-of-fact narration. That, combined with the film's open ending, a random cast that includes Ben Johnson and Dawn Wells, and a killer whose mere still presence in front of the camera gives off instant chills, made the movie an instant event for horror fans.
A poster for Giant billed the iconic Texas film as The GIANT of Them All.
The poster hardly exaggerated. Running more than three hours, starring three of Hollywood's biggest stars of the era, spanning more than two decades and set against the vastness of a cattle ranch, Giant seemed as big as Texas itself when it was released in 1956.
To the film's legions of fans and many critics, Giant is still a giant. No other film captures the mythical Texas -- if not the real one -- quite like George Stevens' epic story. Countless films have been made here, but with its swaggering view of life in the Lone Star State, Giant may be the most Texan (again, in the completely mythical sense) of all.
Based on a 1952 novel by prolific novelist and playwright Edna Ferber, Giant is the story of the Benedict family, owners of a 595,000-acre West Texas cattle ranch. The film opens in the early 1920s, when Jordan "Bick" Benedict (Rock Hudson) travels to Maryland to buy a prized stud horse. He meets the horse owner's daughter, socialite Leslie Lynnton (Elizabeth Taylor), and the two marry after a whirlwind romance.
The names Ken Lay, Jeff Skilling and Andrew Fastow are not as prevalent in the media as they were in the last decade. These men, behind the success (such as it was) and severe failure of Enron, were eventually found guilty of fraud and other charges.
The 2005 documentary Enron: The Smartest Guys in the Room is based on the book of the same name. Director Alex Gibney (Taxi to the Dark Side, The Armstrong Lie) interviews the book's authors, journalist Bethany McLean and Peter Elkind, along with journalists, political figures and former Enron employees. Peter Coyote (E.T., Erin Brockovich), who could narrate practically anything and lend it a certain credence, talks of the bravado and bluff in the history of the energy-trading company based in Houston.
These interviews and Coyote's narration speak to the shenanigans going down at the once-praised company. The "macho culture" at the business is described, corraborated by video clips from an extreme motocross trip and discussion of one executive's love for strippers (with requisite strip club footage). Audio of male traders making rude and conspiratorial remarks is played over scenes from the 2000-2001 California electricity crisis. In such a case, it's not shocking that a woman, Sherron Watkins, turned whistleblower against Enron.
Enron: The Smartest Guys in the Room depicts the real-life events as a sort of morality tale, with many of the interviewees speaking about the lousy ethics of the company's business and their "synergistic corruption." The director includes C_SPAN video of Skilling before a Senate committee, lying about his part in the faulty financing Enron was using. Because the company appeared to be doing so well -- they were making loads of money, anyway -- any outside person who tried to ask important questions about the business or look closer at their dealings faced repurcussions.
After Slacker and Dazed and Confused but before Bernie, Before Midnight and the soon-to-be-released Boyhood, Richard Linklater made a charming little movie called The Newton Boys. Filmed in Texas and featuring a band of charismatic actors (most of whom have gone on to considerable success in film and/or television), this true story depicts the bank-robbing exploits of four entrepreneurial and adventure-loving brothers in the early 20th century.
Raised in Uvalde County, Texas in a cotton farming family, the Newton brothers are an unruly bunch whose lives tell a one-of-a-kind story of American idealism and brash (but mostly non-violent) outlaw behavior. After Dock and Willis, the oldest two brothers (Vincent D'Onofrio and Matthew McConaughey), experience various real and perceived injustices (including class-based discrimination, wrongful imprisonment and general mistreatment by authority figures), they give up on trying to live lawful lives and instead decide to take what they think should be theirs.
This means emptying banks ("it's just little thieves taking from big thieves") and lying whenever necessary but vowing never to kill anyone. Thanks to the nitroglycerin supplied by cohort Brentwood Glasscock (Dwight Yoakam) and the endearingly slow transportation and communication systems of the 1920s, Dock and Willis (also joined by their younger brothers Jess and Joe, played by Ethan Hawke and Skeet Ulrich) are able to become incredibly successful bank robbers, and they proceed to spend several years joyfully blowing up and clearing out dozens of safes and trains from Texas to Canada.
If you spent nearly 25 years in prison for a crime you didn't commit, would you be bitter?
Michael Morton isn't. Which is surprising, given that he was wrongly convicted of murdering his wife, spent almost 25 years behind bars and would remain there today if not for the tenacious attorneys who won his release.
Morton's frightening ordeal is the subject of An Unreal Dream: The Michael Morton Story, a moving 2013 documentary released on DVD April 1. More than just a recounting of Morton's astonishing and infuriating story, the film is a meditation on faith and redemption.
The film's title is based on a quote from United States Justice Learned Hand: "Our procedure has been always haunted by the ghost of the innocent man convicted. It is an unreal dream." But "an unreal dream" is too tepid a description of Morton's suffering; his story is in every way a nightmare.
The Iron Giant may not have been a box-office success upon its original 1999 release, but the animated film based in 1957 Maine has come to be loved and appreciated by many in the years since. The quirky, heartbreaking sci-fi tale pairs the beauty of its hand-drawn animation with a powerful message.
Hogarth (Eli Marienthal, American Pie) is a young boy in fictional coastal town Rockwell (presumably named after this Rockwell) who stumbles upon a ginormous alien machine one night. Hogarth befriends the giant, who has lost most of his memory, and attempts to pass knowledge on to the larger being. Harry Connick, Jr. figures into the voice cast as a hipster scrap metal collector/artist who supervises some of Hogarth and the giant's interactions.
Meanwhile, Hogarth's widowed mom Annie (Jennifer Aniston) rents out a room to government agent Kent Mansley (Christopher McDonald, Thelma & Louise), sent to the town after reports of metal monsters and strange happenings make their way to Washington. As Hogarth tries to teach the giant that he can choose to be what he wants (instead of what the machine may have been designed for), Mansley is determined to prove the dangerous existence of the imposing metal figure.
It seems strange to select such a New York City-centric film as Spike Lee's 25th Hour for Lone Star Cinema, but the epilogue for the movie was filmed in our state. So, here we are. Released a year after 9/11, the movie moves at a kind of meditative pace as drug dealer Monty Brogan (Edward Norton) spends his last day as a free man in NYC. He meanders around the city with his rescued pitbull Doyle, and has dinner with his dad (a gruff Brian Cox, The Bourne Identity) before meeting friends at a club for one last fete.
There are a few flashbacks as Monty recalls meeting his younger lady love, Naturelle (Rosario Dawson, Rent) and suspects her possible involvement in the bust that led to his arrest. His two closest friends are from childhood: slick investment banker Frank (Barry Pepper, True Grit) and lumpy prep school teacher Jacob (Philip Seymour Hoffman, Capote). All three commiserate and celebrate with Marty as he faces a seven-year sentence.
25th Hour is based on a screenplay by David Benioff, who wrote the original novel (and would go on to run HBO's Game of Thrones). The language is gritty, especially in the harsh monologue Norton's character delivers to a bathroom mirror: a rant about ethnic and other minorities in the city that speaks more to his feeling of absolute desparation than anything else. The rapport between the three fellows is often believably strained and forced, for what do they really have in common anymore besides the length of time they've known each other?
Had the stylish thriller D.O.A. been more plausible, it might be more than a footnote in the history of Austin film.
Released in 1988, the murder mystery had much promise. After all, it was a loose remake of an iconic Fifties whodunit of the same title. Its leads were Dennis Quaid and Meg Ryan, two sexy Hollywood darlings on the verge of megastardom. At the helm were Annabel Jankel and Rocky Morton, co-directors of the innovative, critically acclaimed and quintessentially Eighties TV series The Max Headroom Show.
But for all its potential, the movie D.O.A. is mostly forgettable mix of crime thriller clichés and farfetched plotting. It's a watchable bit of neo-noir, but nothing more.
For this Thanksgiving week edition of Lone Star Cinema, I selected an influential football film from the mid-aughts. Before the acclaimed series Friday Night Lights started shooting in town, the 2004 film, starred Billy Bob Thornton as coach to a Texas high school football team. Based on the same-titled book by Buzz Bissinger, Friday Night Lights depicts the 1988 season of the Permian Panthers of Odessa, from the promising pre-season to their challenging finish at state.
The movie places quick scenes from the lives of several of the senior players in between montages of the Friday night action in Odessa's Ratliff Stadium. Derek Luke (Antwone Fisher) plays Boobie Miles, an assured running back who is the team's star. I'd argue Luke gives the best performance in the movie. Midway through Friday Night Lights, his character faces an obstacle he may not be able to overcome, and Luke aptly conveys Boobie's bluster, might and heartbreak.
Quiet quarterback Mike Winchell (Lucas Black, Sling Blade, Jarhead) finds it hard to engage in the game as his thoughts dwell on his uncertain academic future and the fate of his sickly mother. Billingsley, the fullback played by Garrett Hedlund (Tron: Legacy), lives with an abusive drunk dad (country singer Tim McGraw) who was once on a Permian team that won the state championship.
I wanted to know more about the backstories of younger player Comer -- the recently departed Lee Thompson Young (The Famous Jett Jackson) shows such promise here -- as well as stoic linebacker Ivory Christian (former UT player Lee Jackson) and safety Chavez (Jay Hernandez, spotted on ABC's Nashville). For a film that is practically two hours long, Friday Night Lights is relatively light on plot and spends much of its time on the field. I guess if I want to know more about the players, I'd have to read the book.