During the recent Melbourne International Film Festival, I had an interesting discussion about whether genre films can ever deal with important social issues in a way that is not titillating or exploitative. One example of a genre film that does, shown at this year’s MIFF, is Peter Weir’s 1977 film, The Last Wave.
The Internet Movie Database classifies The Last Wave as a ‘drama/mystery/thriller’ but it is also laced with supernatural/occult tropes popular in many horror films of the seventies. It’s a story about weather and the climate, in a way that can now be viewed as a remarkably prescient. But most importantly, given my introductory comments, it is also a relatively sophisticated attempt by a white director to engage with Indigenous Australian issues and mythology and the clash between Aboriginal law and Western law.
You can read my piece on Weir’s The Last Wave in full here on the Overland site.
It has been said we get the versions of Shakespeare that mirror our times. If so, it is chilling to speculate what Australian director Justin Kurzel’s take on Macbeth, the story of a loyal warrior who succumbs to the temptation to commit regicide, says about the current state of the world.
You can read my review of Macbeth in full here on the Australian Book Review’s Arts Update page
In the mid-nineties, my brother and I drove all the way down the west coast of Mexico, stopped in Guatemala for a couple of weeks, then drove up Mexico’s eastern coast to Texas and onto Florida. Our time in Mexico was pretty much problem free (with the exception of the time we were pulled over by narcotics police at a check point on a remote stretch of road outside Cancun and my brother dissed one of the cops – but that’s another story). Indeed, the only instance in which we were threatened with genuine violence occurred not in Mexico but when gun was pulled on us in a bar in Miami. I struggled to reconcile my memories of Mexico as I watched Denis Villeneuve’s Sicario.
Sicario (warning, spoilers follow) opens with a group of police, led by Kate Macer (Emily Blunt) busting into a house in the outer suburbs of Phoenix, suspected of having links to one of the Mexican drug cartels. There they make a gruesome discover. Entombed in the plasterboard walls are numerous corpses, wrapped in plastic, the victims of cartel kidnapping and murder. No sooner have forensics arrived to start cataloguing the bodies, then a bomb goes off in the backyard, killing two of the officers.
Kate is called into a meeting with her superiors and a mysterious man called Graver (Josh Brolin) and asked whether she wants to volunteer for a new assignment.… Read more
Today’s Pulp Friday offering is a very short addendum to my post a couple of weeks ago about the US paperback tie-in to Alan J Pakula’s 1971 movie, Klute, and the career of its author, William Johnston. As I noted in the post, which you can read in full here, Johnston appears to have been a master of the paper-back tie in, a massively popular form of entertainment before the advent of VHS, as a way for fans to re-live their favourite films and television shows.
Spurred on by a comment by one of my readers, I thought people might be interested in the UK paperback tie-in editions for Klute. There a two that I am aware of. The first is the 1973 Sphere paperback above, the cover for which was kindly sent to me by the reader in question, Stuart Radmore. As he noted, and I agree, it is a much darker and atmospheric cover design than the US 1971 Paperback Library edition. The back cover of this edition is included below.
The second is another Sphere version, this one from 1971, which appears to be the Australian and New Zealand edition of the Sphere tie-in. Until I saw Stuart’s comment, I had totally forgotten that I owned this version.… Read more
I’ve been a long time fan of American actor Roy Scheider. But it was only after a recent viewing of his performance in the Alan J Pakula’s 1971 film, Klute, I realised despite having seen and liked him in a number of films I knew very little about his overall career.
I recently reviewed Klute on this site here, so I won’t go into further detail about the film except to say that Scheider is great as Bree Daniel’s former pimp, Frank Ligourin. His is not a large role, just one or two short scenes, but his presence elevates the entire movie and gives it an additional layer of malevolence. That’s Scheider in every movie I’ve seen him in. He elevates and heightens what’s already present.
Scheider could act and had a great presence, his ropey, perpetually suntanned body and his slightly askew, angular face with the broken nose, a legacy of his time boxing in New Jersey’s Diamond Golden Gloves Competition.The first time I can remember seeing him was when my parents took me to see Steve Speilberg’s Jaws upon its release in 1975. That was probably his best-known role but it was just one among many. He got his start in television and gradually moved into the big screen.… Read more
Posted in 70s American crime films, 80s American crime films, Gene Hackman, Roy Scheider
Tagged 1971, 1976, 52 Pick Up (1986), All That Jazz (1979), Bob Fosse, Bullitt (1968), Cannon Pictures, Elmore Leonard, Gene Hackman, Jaws (1975), Joe Gideon, John Frankenheimer, Klute (1971), Marathon Man, Michael Cimino, Philip D’Antoni, Roy Scheider, The Deer Hunter (1978), The French Connection, The Seven Ups (1973), The Sorcerer (1977), William Friedkin