Showing posts with label Blue Velvet. Show all posts
Showing posts with label Blue Velvet. Show all posts

Saturday, April 21, 2012

Why Hollywood Hates Your Stupid Suburb

Well, I guess everything nice can go a little bad, too.

While watching this past weekend's excellent new "Mad Men" episode "Signal 30," I realized something that I should have understood long ago: Hollywood loves to hate on suburbia. The offsprings of cities have come to represent boredom and loss of youth, amongst other things. They can be purgatory or hell, depending on how you look at it. Even when they do look nice, there is usually some joke behind it. In front of the camera,  a suburban town never looks like a purely good place to live.

Saturday, May 29, 2010

Dennis Hopper: Always Riding Easy

It can be hard to sum up the entire life of an actor from the only two roles you've seen them in. But when they're as powerful and unique as these certain two, it's definitely worth a shot. After a long public battle with prostate cancer, Dennis Hopper died on Saturday. He was 74.

Hopper's career as an actor (and many other jobs on the set) lasted over half of a century, spanning both film and television. Some might always have considered him a bit part, but he always left his mark on various legendary productions. At just 19, he had a small yet prominent part in "Rebel Without a Cause."

But unfortunately I will admit, I am not the biggest expert on Hopper, and certainly am not worthy enough to tell his entire life story. But what I can do is show you Hopper through the two very different, but very amazing performances of his that I have seen.

Hopper's breakthrough role came in 1969 with "Easy Rider." Here was a film that not only established Hopper as a fine actor, but also broke down barriers and redefined American cinema. It could be even considered the first successful independent film made. And Hopper was such an integral part of that. Not only did he star in the film, but he also co-wrote (with Peter Fonda) and directed it. As a writer, he delved into long, maybe even improvised, speeches that could change your outlook on life. As a director, he established an America that was both hauntingly beautiful and free as well as nightmarishly conformist. One could argue that without him, there would be no Tarantino, no Soderbergh, no Kevin Smith, and no Miramax.


Hopper's performance is also hard to forget. He plays Billy, the less serious, slightly more laid back character next to Fonda's Wyatt. Hopper had this strange way of making his character's memorable through just the tiniest details. One might remember Billy best from his giggly stoner laugh. Despite some of the less serious aspects of the character, we are no less haunted by his fate at the end.

Hopper might not have gotten the film's pivotal line ("We blew it") nor did he get the giant career breakthrough (that went to Jack Nicholson), but his contribution to this piece of history is something of an unseen story. Let's just say he directed "Easy Rider" to victory.

The best performance Hopper might've ever given is in David Lynch's freaky "Blue Velvet." In it, he plays psychopath Frank Booth. Frank is a villain beyond our wildest dreams, which is why he just might be a dream. Yet, Hopper doesn't let that bother him. Frank is into inhaling Nitrous Oxide and holding families hostage while he commits acts of shocking sexual perversion. It's a total turn around from Hopper's performance in "Easy Rider."

Once again, he gave it his all. Frank might seem like nothing more than a one-dimensional psychopath, but Hopper took him out of that territory and made him hauntingly real. He became a projection of all of our greatest fears. You'll never forget his beer preference nor the way he mouths "In Dreams." In the end we question, is Frank just a projection of our nightmares, or the man who lives next door to us.


As the obituaries begin to pop up, most headlines have contained the word "Bad Boy." While Hopper certainly carried that reputation, putting him simply into that category would be too little. Outside of film, he may have been a bad boy yet inside of film, he was a revolutionary of a filmmaker, and a truly exceptional actor. To that I say, keep on riding easy, Dennis Hopper.

Note: I just realized I totally forgot to include "Apocalypse Now" on the list. My apologies.

Friday, October 23, 2009

Boondock Saints: Why I'm Not Part of the Cult

Nine years ago, a film called "The Boondock Saints" opened on just five screens. At the end of its theatrical run, it had grossed a mere $25,812. Nobody knew then, that a phenomenon was in the making.
Today, Troy Duffy's tale of two Irish brothers wreaking havoc on Boston's criminal underworld has become one of the defining cult films of the decade. To date, its grossed more than $40 million on DVD and can currently be seen in over 500 different t-shirts at your local Hot Topic. Now, it's getting a sequel called "Boondock Saints II: All Saints Day."
But is this too much? "Boondock Saints" is entertaining, for sure. It'll make you laugh and mostly keep you interested for its entire running time. Plus, it features Willem Dafoe at his absolute creepy best. But does it really deserve this cult?
Well, most of the great cult films are the trashiest ones (think "Rocky Horror Picture Show" and anything John Waters does). However, this film's level of escapist trashiness feels uninspired. It felt like Duffy was trying his absolute best to imitate Tarantino. At some points, it's all too obvious (you probably won't laugh as hard at the cat getting his head shot off once you see the Marvin scene from "Pulp Fiction"). Mainly, however Tarantino is the hardest director to emulate because his style comes from decades of watching thousands of movies no one has ever heard of.
But I digress. The real problem with "Boondock Saints" is the story itself. Couldn't Duffy have made the religious references a little more subtle? "Donnie Darko," one of the great cult classics of the decade, was a film that explored the possible existence of God. Yet, you wouldn't have known that until after you thought about it for a while. Plus, I find it impossible to take sympathy for anyone who believes murder is justified just because they believe God told them to do it. Perhaps this film is just plain overrated.
Maybe I just haven't seen the movie enough. Or maybe I'm just one of those people who simply don't get it. That's what a cult film is: some get it, and some don't. When I look for a good cult classic, I look for a film that penetrates your mind so much and spawns so many questions. In that light, the likes of "Donnie Darko" and "Blue Velvet" work for me. Or, I look for a film that transcends reality and forces you to embrace your darkest, guiltiest pleasures. In that light, "Scarface" works for me.
While those three films are constantly commented on on IMDB message boards or turned into useless merchandise, there's more too them. They sit in your head, they make you question the very reason you go to the movies in the first place. And I guess that means I still really can't answer that question.
I wish Troy Duffy best luck with this sequel and other films in the future. If he hopes to make something better than "Boondock Saints" there's one thing he should remember: a great film (or great cult classic, for that matter) should be something to chew on, and not just full of cool quotes to put on t-shirts.
Now "Boondock Saints" fans please tell me: what do you enjoy about this film so much? Am I missing something?