Double: “Outbreak” and “NeverEnding Story”
Preparing for Contagion, I watched Outbreak, since both have the same subject. Col. Sam Daniels (Dustin Hoffman) and Robby Keough (Rene Russo) – are a divorced couple but they stay amicable, his military status still maintaining her respect, her bravery calling for his devotion. Besides, they’re both in the medical industry and any developments in that field both concern these high-positioned professionals.
Patrick Dempsey looks less McDreamy and more longer haired, leather jacketed Scott Speedman. His character, Jimbo Scott, in 1995, is a leftover from the grunge movement. He is one of chains in smuggling a non-indigenous monkey into California and lets her out into the redwood forests. She sneezes on him, making him this film’s Gwyneth Paltrow, and when Robby finds him, he’s too sick to utter a word. He falls victim to the airborne and mutating Motaba virus, its original strain being discovered in Zaire three decades before the film’s time frame. He dies along with his girlfriend, one of a few doctor dying through human error (Kevin Spacey) and more get infected.
After ‘going rogue’ from corrupt higher-ups (Morgan Freeman and Donald Sutherland), Daniels and Maj. Salt (Cuba Gooding Jr.) find the Motaba carrier, they go on TV and a concerned mother of a rural home call in that the monkey is in their backyard, her daughter christening her as Betsy. Cue the character’s spectator-ship echoing ours in such a tense moment – this happens a bit in many movie so I’m not surprised. Salt points a tranquilizer gun near the girl, the girl’s parents telling Hoffman ‘I can’t stand this.’ I can’t stand it neither. These officers characters get Betsy, then they fly away again.
This film is punctuated by characters flying in and out of America that they might as well call this movie “Army Helicopter.” Personal and worldly issues mix here in the most melodramatic of ways. The world was still reeling from AIDS, which gets a shout out in this movie, but thankfully Twelve Monkeys gets released seven months later, adding surrealism to 1990’s apocalyptic paranoia.
Outbreak‘s director Wolfgang Petersen is also responsible for The NeverEnding Story, about a kid who gets bullied because he reads or something. Again there’s the spectator within the spectacle, for example Bastian telling Atreyu (Noah Hathaway, whose credits include playing a ‘Harry Potter Jr.’ before the books came out) to run. The story engages Bastian so much that he’s reading and staying in school way after closing to find out how it goes. He’s aware that the story isn’t real, but he cares about fictional characters in a way that never stops after childhood. The film also shows that like him, a great reader bridges those two worlds to learn lessons about himself and the dangerous real world.
This film is pre-CGI so it’s still marvelous how Petersen gets most of the giant creatures and sets on-screen, both of which produce wonderment and fear. The talking creatures don’t look like mere scale sculptures and the sets look painted on to colourful effect. Some of the magical entities, like double sphinxes that kill passerby with their laser eyes, are accurately created to standards of antiquity that won’t ever be depicted the same way. I also get Flash Gordon/Clash of the Titans ’81 flashbacks because of the topless sculptures/violent subject that is still right for a children’s film. And despite the faltering British accent, Hathway’s Atreyu never gets lost within the magnificently designed sets.
- Cinema de Gym: ‘Outbreak’ (thefilmexperience.net)
‘Ian, you put a greased…’
‘…naked woman on all fours with a dog collar around her neck, and a leash. And a man – ‘
‘And a man…’
‘A man’s arm extended out up to here holding on to the leash and pushing a black glove on her face to sniff it. You don’t find that offensive?’
I saw This is Spinal Tap at the Revue a long time ago with my mom. I couldn’t tell her what a love pump was.
The Last Starfighter
The Last Starfighter was playing at the TIFF Bell Lightbox as part of their 80’s thingamajig every Saturday at 2. They’re also doing Gremlins today and Back to the Future, if they haven’t done it already. The looks of the star of The Last Starfighter reminds me of Armie Hammer, so if necking with Leonardo di Caprio in movies don’t work, he has a sci-fi reboot waiting for him! Oh wait, this guy plays twins too?
Let me explain. Alex Rogan lives in the 1980’s in some trailer park in California or the Southwest that isn’t as trashy as the one in “Trailer Park Boys,” there’s a video game outside the diner of that trailer park. He exceeds the top score, he gets sent in outer space because of this seemingly inconsequential achievement. A Beta version of him is sent down to take his place to keep the residents less suspicious, even if he mopes around and doesn’t like it when his girlfriend licks his ear.
He’s not the greatest actor. He doesn’t particularly sell me when he doesn’t want to be a starfighter. He has this wide-eyed inflection when he learns something new about outer space. But he does capable service to his double role, the original is sometimes angry both about his old and new predicament, Beta Alex takes the Earthlings with a humourous stride. And he has great timing when acting against himself too. I’ll also point out the deadpan ridiculous of Alex’s girlfriend and the rest of the trailer park residents, the most embarrassingly stereotypical acting from a black person in between Oscar Polk and the Wayans Brothers and the fake British inflection camp of the space villains because apparently there’s no other way to act out the latter. The enemy alien has a red space monocle snapping into place once in a while. The last time that happens, he says his last words “We die,” and he dies. It’s priceless.
As an 80’s sci-fi movie, the effects are pathetic compared to today’s standards. The space battles feel like the video game he plays back home, but with blocks and lasers. The good thing about the terrible, early stage CGI era is that the crew would actually make sets for the interior spaces outside Earth. The sets are well thought out and make sense for their contexts. Half of the film also takes place in and near the trailer park. The effects in this part economical like a shooting star, a sign that an enemy has landed. We see the tacky decorations of the kooky old trailer park residents, the truck with the token sexually rambunctious but not destructive cowboy friend and non-speaking token Asian friend and so forth.
There’s also something I like in the composition of this shot of Alex’s anguish, vegetation, sign, diner. There are a lot of contrasts that play well together, both earthly and magical. There’s also another shot where the good aliens parade Alex around the dark surrounding s suggest nighttime but actually mean the film can’t afford a night sky or special space traffic lights.
This film came out in 1984, a banner year not for the Academy but for genre films. The Terminator also came out this year.
Neverending Christmas: Gremlins is Black
So watched this movie last week at the Underground, had some spiked apple cider, met Sasha, entered raffle, not win anything from raffle. Also, there were short theatrical and musical performances. The former from the Underground staff, the latter from a band with a front girl who sounds like Feist. Thanks girl, I was rooting for me being the hottest person in that room.
I remember the chair scene, I remember a mall instead of a department store. The sequel probably ends in a mall. I haven’t seen the sequel since my childhood.
Apparently the gremlins is black. Stripe with his mohawk doesn’t register as black to me. I guess their ‘blackness,’ in a ‘Renaissance’ perspective of the word, has something to do with the second rule, as light can be seen as whiteness, something that the gremlins can’t live under. The gremlins don’t even register as Chinese, since the parent gremlin does come from China. Ok, thinking about the raciality of the gremlins almost made my head explode. I was this close to comparing them to ‘Muslims,’ or at least how ‘red’ America perceives them.
Nonetheless, the racial reading of the film roots from that despite Christianity’s strength, there’s still an anxiety that Christmas, in its ever-evolving form, won’t be celebrated ‘traditionally,’ whatever our understanding of that is. On that note, maybe it’s not a racial but about generational differences, that the multiplication and transformation of the gremlins are the fault of a curious, young man.
Why is the school open on Christmas Eve? The science teacher wouldn’t have died if he didn’t work. I guess it builds on the childhood assumption that teachers line in school. For some reason, schools in Reagan-era America actually had enough funding to indulge their teachers to make their own research and the facilities that go with them. Also, ooh, black on black violence.
Also, the retired Phoebe Kline nee Cates. She made Jessica Alba seem like a Shakespearean actress.