Kasdan’s ability to engage us in the obligatory exposition scene is evident early when Indy and his friend Marcus Brody (Denholm Elliott) meet with two military intelligence officers about the location of an old colleague of Indy’s – Abner Ravenwood – who might have an artifact – the headpiece of the Staff of Ra – that will reveal the location of the Ark of the Covenant, which the Nazis are eager to get their hands on. Indy and Marcus give the two men a quick history lesson on the
This segues to a nice little scene right afterwards at Indy’s home between the archaeologist and Marcus. He tells Indy that the
Kasdan also does a great job hinting at a rich backstory between Indy and his ex-love interest, Marion Ravenwood (Karen Allen). When they are reunited at a bar she runs in
Indy and Marion have another nice scene together after they’ve retrieved the
For me, Raiders is still the best film of the series. The pacing is fast but not as frenetic as today’s films. There are lulls where the audience can catch its breath and exposition is conveyed. In many respects, it is one of the best homages to the pulpy serials of the 1930s and a classic example of when all the right elements came together at just the right time. This film has aged considerably well over time and each time I see it, I still get that nostalgic twinge and still get sucked in to Indy’s adventures looking for the lost
Wong's hopelessly romantic notion of timing is apparent right from the start of the movie. Cop 223 (Takeshi Kaneshiro) accidentally jostles a woman (Brigitte Lin). Wong uses a freeze-frame to capture the first moment of contact and the cop says in a voiceover, "At the closest point, we're just 0.01 cm apart from each other. 57 hours later, I fall in love with this woman." Chungking Express is comprised of two intersecting stories. The first one focuses on the aforementioned police officer and his attempt to cope with the recent breakup with his girlfriend. He's obsessed with the time they had together and the time they now spend apart. He even buys thirty cans of pineapples that expire before May – his birthday and name of his ex-girlfriend – and proceeds to eat them. Anyone who's agonized over a failed relationship can immediately identify with his refusal to let go and to believe that there is a glimmer of hope that things will work out. Cop 223 observes, "Having a broken heart, I'd go jogging. Jogging evaporates water from my body. So I don't have any left for tears." Even though he hurts inside, he still goes on and still looks for love. He meets a mysterious woman (Lin) dressed in a plain brown trenchcoat, sunglasses, and striking blond hair. She is actually a ruthless drug runner who has been betrayed by her partner and is on the run. It's an interesting blend of the traditional film noir subplot, complete with a femme fatale, mixed with a lovesick cop on the rebound right out of the romance genre.
If the first story contains more stereotypical archetypes, the second and much more interesting story goes off into uncharted territory, like some sort of wonderful dream. We are introduced to Cop 663 (Tony Leung Chiu Wai) whom his girlfriend has also dumped. He is much more accepting of it, much more logical. It's an attractive woman, Faye (Faye Wong) working at a deli that he frequents and who is the hopeless romantic of this story. She's an obsessive type who listens to the song "California Dreamin'" by the Mamas and the Papas over and over. It is not only her own personal soundtrack but also represents her dream of making enough money to go to
Originally, Wong envisioned Chungking Express to consist of two stories. The filmmaker remembers, "One would be located in Hong Kong and the other in
Chungking Express was made during a two month break from the shooting of his samurai epic, Ashes of Time. Wong had to stop production on that film to wait for equipment to redo the sound. "While I had nothing to do, I decided to make Chungking Express following my instincts." He had specific locations in mind where he wanted to set the action of the film. Wong said in an interview, "One: Tsim Sha Tsui. I grew up in that area and I have a lot of feelings about it. It's an area where the Chinese literally brush shoulders with westerners, and is uniquely
The second half of the film was shot in Central, near a popular fast food shop called Midnight Express. "In this area, there are a lot of bars, a lot of foreign executives would hang out there after work," Wong remembers. The fast food shop is forever immortalized as the spot where Tony Leung and Faye Wong's characters met and became attracted to one another. Wong was also drawn to "the escalator from Central to the mid-levels. That interests me because no one has made a movie there. When we were scouting for locations we found the light there entirely appropriate." One of the iconic images from Chungking Express is Faye Wong traveling along the escalator, a warped reflection beside her. Wong created the title for the movie from the two prime locations from the two stories:
Inspired by the improvisational feel of the films of Jean-Luc Godard and Robert Bresson, Wong worked fast and furious on the film with his cinematographer, Christopher Doyle. The director remembers, "We filmed like madmen! I told him, we didn't need to pay much attention on lighting (except in the apartment), since it was filmed as a road movie, without any definite location. We didn't have the time to install or use everything; I wanted it to be filmed like a documentary, camera in hands. And Doyle accepted the challenge; to film very fast, while still producing a movie of high quality."
Despite this rapid-fire way of filmmaking, Chungking Express never looks like it was just thrown together. If anything, it has a very slick, polished look of someone who obviously knew what they were doing and what they wanted. The film has its own tempo with each story having its own unique rhythm. The first one feels very fast and immediate, while the second story adopts a leisurely pace. In this respect, the central characters and their personalities reflect the mood and pacing of the story. Both the cop and the drug runner of the first story lead very exciting, fast-paced lives and this is reflected in the blurred camera movements during moments of action. Conversely, the cop and woman of the second story adopt a very lackadaisical attitude towards everything and this is in turn demonstrated in the wandering narrative and pacing.
First and foremost, Chungking Express is about relationships in an urban environment. The
For all of its stylish camerawork, Chungking Express is ultimately a film about human behavior. One of the joys in watching this movie is seeing how these characters interact with one another. How they act and react to what each other says and does. The film holds a hypnotic spell over the viewer as they get sucked into these characters' lives and begin to care about them. As one character observes, "But for some dreams, you'd never wake up." And that's the feeling one gets from this film. You never want it to end.Here is the trailer.
Hey Ho! Let's Go! Listen up, kids. Rock 'n' Roll High School may have been released way back in 1979 but it still kicks the ass of any of those square MTV movies. Forget about Britney Spears and Mandy Moore's brand of bubblegum pop music and their equally bland movies – they don't hold a candle to the unbridled power of those punk rockers from
Riff Randell (P.J. Soles) is the ultimate Ramones fan. She's introduced gleefully bypassing
Riff dreams of meeting the Ramones and giving them a song she wrote entitled, "Rock 'n' Roll High School." She tries it out on her gym class causing all the girls in their skimpy gym outfits (ah, Corman and his exploitation tendencies) to dance around in what can only be described as the greatest gym class ever.
Riff even camps out for days to get tickets for the Ramones’ upcoming concert while her best friend, Kate Rambeau (Dey Young) covers for her by telling the nasty, shrewish Principal Togar (Mary Woronov) that various members of Riff’s family have died. Not surprisingly, Togar doesn’t fall for it and takes Riff’s ticket away, forcing the two girls to find another way to meet their heroes. Meanwhile, good girl Kate has a major crush on the school’s quarterback, the bland Tom (Vincent Van Patten), but he has his sights on the dynamic Riff.
The film was originally called Girls Gym, then it was changed to Disco High by Corman, who wanted to capitalize on the disco craze, but was (fortunately) persuaded otherwise by director Allan Arkush. Originally, the filmmakers wanted Devo and then Van Halen before approaching the Ramones. They finally settled on Rock 'n' Roll High School after Arkush convinced Corman that the Ramones were the perfect band for the film. To their credit, the Ramones knew that it was the right move. Guitarist Johnny Ramone was a huge fan of Corman’s films and when he heard that the producer was behind the film, he agreed to do it. And the rest, as they say, is history.
From B-movie veterans like Paul (Eating Raoul) Bartel and Mary (Death Race 2000) Woronov to newcomers (at the time), P.J. (Halloween) Soles and Dey (Strange Invaders) Young, the entire cast has a lot of fun spouting the film's wonderfully inspired cornball dialogue ("If you don't like it, you can put it where you the monkey puts the nuts," Riff says defiantly to Togar at one point) courtesy of National Lampoon magazine writers Richard Whitley and Russ Dvonch. I would be remiss without also mentioning the presence of Corman regular Dick Miller (as a cop) and Clint Howard who plays matchmaker for Tom. The Ramones are good sports and mumble their way through the film and truly come alive during the music sequences like the pros that they are. This film rightfully cements their reputation as legends.
Shot in only 15 days (which, when you think about it, is entirely appropriate for this kind of film), Rock 'n' Roll High School embodies the essence of the punk rock music that made the Ramones famous. The film is bursting with youthful energy, a dose of good ol' fashion anarchy, and is loads of fun to watch. These are also the ingredients that made Rock 'n' Roll High School a cult film. Corman cannily marketed it as a Midnight Movie in the hopes that the same people who flocked religiously to The Rocky Horror Picture Show (1975) would come to see the Ramones. It was a modest commercial success upon its initial release and actually garnered critical praise – very unusual for a cult film. Jay Scott, in his review for The Globe & Mail, wrote, “Neil Young might force parents to dam their ears; The Who could be invited to brunch; but The Ramones – The Ramones can strike four-chord terror into the hearts of good people everywhere. That’s what gives Rock ‘n’
While Rock 'n' Roll High School will appeal predominantly to fans of the Ramones (duh!), it is also one of those fun, goofy movies to invite friends over and watch with copious amounts of junk food on hand. This film is all about loving music and a particular band unabashedly. Riff gives herself up to the music and this translates into an enthusiastic celebration of the Ramones and the rowdy, rebellious spirit of rock ‘n’ roll music. Repeated midnight screenings, coupled with steady appearances on TV, have helped the film endure over the years so that is has become a beloved cult classic.