Personal Canon #86: T2: JUDGMENT DAY (1991)

For the 20th anniversary of the James Cameron classic Terminator 2, Judgment Day a reposting of the Personal Canon essay on the film, easily one of the best actioners of all time with a performance by Linda Hamilton which rivals Sigourney Weaver's Ripley badassery ...and that's a nearly impossible feat.

T2: Judgment Day (1991)  Directed by James Cameron | Screenplay by James Cameron and William Wisher Jr | Starring: Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, Joe Morton, S Epatha Merkerson and introducing Edward Furlong | Released 07/03/1991

Once the big profits for the small budgeted The Terminator began rolling in in October of '84, James Cameron became a hot commodity. He wasted no time on the follow up. Twenty-one months later the release of the much larger sci-fi spectacle Aliens (1986 -- to be celebrated here very soon) catapulted him from "filmmaker to watch" to the real deal. His long absence from the multiplex -- Avatar's December 2009 bow ended a 12 year drought -- made it easy to forget this basic truth: the director once moved swiftly through the stages of filmmaking if never quite as rapidly as his movies moved through their action. After Aliens, he left outer space for the deep seas with The Abyss (another hit) and having proved himself thrice over, returned to the killer robots that made his name.

"Model Citizen"
The Terminator cost 6 million to make, Terminator 2: Judgment Day would cost 100 million plus. The budget wasn't the only thing exploding: salaries, visual effects, setpieces, ambition, and public reaction were all supersized. Yet for all of this exponential external growth, Cameron smartly kept his focus tight and intimate.

Early shots give you the color scheme: fiery reds|steel blues. (Michael Edwards as JC.)

Sarah Connor's opening narration and the imagery of post-apocalyptic LA it plays over, both review the first movie and download Cameron's game plan for the sequel.

The computer which controlled the machines, Skynet, sent two terminators back through time. Their mission: to destroy the leader of the human resistance, John Connor my son. The first terminator was programmed to strike at me in the year 1984 before John was born. It failed. The second was set to strike at John himself when he was still a child. As before the resistance was able to send a lone warrior, a protector for John. It was just a question of which one of them would reach him first.

In other words, it's more of the same... only bigger which we notice immediately by way of shinier effects and massive fireball explosions. This repeat template is familiar but it won't be comfortable. We're also going deeper. The story structure is varied only enough to reflect the passage of time. But what has that passage of time wrought?

Upgrade U: The origin T-800 (Arnold) and the leaner meaner T-1000 (Robert Patrick)

As before... two naked men arriving from the future are introduced first. Once clothes are violently procured, their target is immediately identified by text (a phone book in the first film, a police car monitor in the second). Cut to target: John Connor (Edward Furlong). He's even introduced with a shot of a motorbike just like his mother was in 1984. So far so remarkably similar. This makes the slight tweaks stand out all the more. First, the film is more self consciously "funny" (the "Born to Be Bad" accompaniment to the T-800's intro). Second, both visitors from the future are instantly portrayed as formidable threats rather than as a David and Goliath mismatch. Third... where the hell is Sarah Connor?

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Tech Noir "The Terminator"

This article was originally published in summer 2009. [Thanks to Leave Me The White for some of the screencaps] I'm reposting with minor edits in celebration of the 20th anniversary of its sequel Terminator 2: Judgment Day on this 4th of July Weekend.  Plus, what's more American than spectacles of Hollywood violence that launced billion dollar franchises?

Arnold Schwarzenegger as "The Terminator"

"Tech Noir"
In March of 1984 when The Terminator began filming, the director James Cameron and the producer Gale Ann Hurd were no Hollywood heavyweights. Cameron was no one's idea of a visionary (except for perhaps his own) and had only one feature under his belt, Piranha 2: The Spawning -- auspicious beginnings! Hurd had learned the production ropes on B movies for Roger Corman. Cameron and Hurd intended for the dark, fast and cheaply made robot movie to be their calling card. Seven months later in October the movie premiered with only its deceptively simple premise (killer machine hunts woman) and Conan the Barbarian (Arnold Schwarzenegger) to sell it. The Terminator was an immediate hit, though not quite a blockbuster. It earned a Conan-like $38 million gross in its initial run (which I believe is something roughly in the ballpark of $100 million in today's ticket sales).

As a franchise it was a slow starter but as a stand alone movie The Terminator was anything but. The movie begins with a bone crushing (literally) view of "The Year of Darkness", in which massive machines hunt humans in desolate post-apocalyptic ruins. Very quickly we're thrown back to present day Los Angeles ...present day in in the 80s at least.

An electric storm begins and a naked crouching man rises from the clearing smoke. He proceeds to walk emotionless through LA and slaughters some punks for clothes. A second electrical storm follows dropping another naked man into downtown LA. The twin sequences are mostly wordless but already Cameron's story instincts are shining: The first man (we don't technically know he's a machine) is already embedded in the audiences mind as an cool collected deadly force to be reckoned with, the second Kyle Reese (Michael Biehn) is, in contrast, a scurrying, less capable and frankly desperate looking man.

Contrasting Entrances

In short, he's mortal.

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'Ladies' via John Cameron Mitchell, London & Moscow

Somewhere after the second 'Lady Dior' commercial starring Marion Cotillard (a project that's obviously a descendant of those hot "The Hire" commercials wherein A list directors used to create short films around Clive Owen's "Driver" and a BMW) I lost track of the commercials. John Cameron Mitchell even directed her but it premiered during Oscar season when my mind was most definitely elsewhere.

Dior must have liked what John Cameron Mitchell did for them because there's a brand new film (I saw it at IndieWire) wherein Ukranian "sand artist" Kseniya Simonova tells a story conceived by JCM in a live performance. The artist is only using what looks like a light box, a pile of sand and her fingers. That's it. AMAZING. You must also watch it with jaw agape (don't worry, no sand will enter your mouth) because I can't believe it and must share. 

And then there's Mitchell's entry in the Marion Cotillard series "Lady Grey London" if you haven't yet seen that one. That hourglass opening is such cheeky fun.

This sand motif, hmmmm. Does JCM think his time is running out? Nonsense. With three great movies on his resume already (Hedwig, Shortbus, Rabbit Hole) he's batting 1000. 

Yes, No, Maybe So: "Tinker Tailor Soldier Spy"

One more Yes, No, Maybe So to take you into the holiday weekend. This one is the espionage thriller Tinker Tailor Soldier Spy adapted from the bestseller of the same name by John LeCarre. The movie arrives in September. Let's break it down.

The trailer is quite riveting. I blame the intriguing imagery, the cold precision of the editing and those musical trills (not sure if that's the right word) in the score. (Though with scoring in trailers it's always a bad idea to get excited because chances are it's another score entirely in the film. Turns out this score is Danny Elfman from The Wolfman) The trailer is also smart about setting up the central dilemma 'there's a long term mole in our ranks and it's one of these five men!' without fussing too much over the details... or even which five cast members, exactly, that we're talking about. I understand from plot descriptions of the novel that the main character George Smiley (Gary Oldman) is pulled back from semi-retirement to uncover the mole so you've got your old hoary trope in there too. One Last Job!

It's 2011 and knowing the internet, we'll hear who the mole is any second now, let alone waiting for the big reveal within the film in September while we're watching it. Not the film's fault of course but it hasn't taken some of the electricity out of all genres that use mystery and twists for their thrills. Then there's a more personal thing: Two hours without any actressing to speak of though... in a genre I can take or leave. Speaking of personal pecularities: though it pains me to say it for fear of the virtual retribution, I've really never been one for Gary Oldman. No, I am secretly not a member of AMPAS but they've really never really been into him either: Note the  "BAFTA Winner" above his name during the cast shuffle before the "Academy Award Winner" for Colin Firth; Oldman has never been nominated for an Oscar. Will this year be different? (Best Actor Predix - updating in a few days)

The director Tomas Alfredson made the remarkable Let The Right One In (which we were just reminded of) and he's brought back some of the same team for this one which means it will, at the very least, be strongly moody with sticky images. That's a big plus for any thriller. The cast is also sharp. Tom Hardy gets a lot of face time in the trailer but there's also Mark Strong, Toby Jones and John Hurt (among others). It'll be interesting, too, to see if Colin Firth can keep up the remarkable momentum he built from A Single Man and The King's Speech. Will that prove a two year peak or will he have another couple more years up top of the "must-cast pile"?

And finally: how the hell will this fare with Oscar? It's so hard to say since the genre and filmmaking team are not Oscar Bait in and of themselves. When you aren't carrying obvious bait, you've got to have strong golden hooks (excellent reviews, showy performances, surprise hit status) if you hope to catch Oscar.

The Trailer in Question...

Are you a yes, no, or maybe so? Break it down in the comments

Previously: Mission Impossible - Ghost Protocol, War Horse, Moneyball, Footloose, and A Dangerous Method

O Canada, we stand on link for thee!

Pajiba celebrates the hottest Canadian celebrities for Canada day. I didn't even know that Iceman (Shawn Ashmore) and Helo  (Tamhoh Penikett) were Canadian.
Movie|Line opts for "badass Canadians" like Carrie-Anne Moss and Nathan Fillion. 
unexamined / essentials Lovely review of Woody Allen's Midnight in Paris. (I hadn't considered Gil's insomnia before.) Hey maybe when Woody is done with Rome he should continue his world tour in Canada. Maybe Montreal? Winnipeg?
Guardian a new book of private candids of Elizabeth Taylor and famous friends. Fun fact: Liz married Richard Burton (the first time at least) in Canada. The second time they were married in Botswona. Obviously.

Brando & Liz, so candid its almost demystifying.

Rants of a Diva Halfway Report: best rentals, hot boys, best films, and more...
CHUD Why there's no sequel to Spike Lee's Inside Man and what might be next for him. 
Awards Daily They're now calling The Invention of Hugo Cabret, "Hugo" only. Gah, DULL. Audiences are so dumb. Or Hollywood thinks they are. It amounts to the same thing.

Telegraph Whoa. Tim Robey kinda likes Transformers Dark of the Moon. I love this bit especially...

If you wonder why it had to take a spirit-taxing two and a half hours about this, it’s because Bay’s ego clearly considers it logically irrefutable that the longer one of his films is, the better it must be.

You can say the same, unfortunately, for many far greater auteurs. Length -- one might say dick-measuring --almost always comes with the territory of being a respected auteur, whether you're respected for your art or your money-generating craft... the same thing tends to happen.
My New Plaid Pants meanwhile JA fears he'll go see it this very weekend "like some sort of brain-damaged masochist." hee.

 

Finally, Clothes on Film has a fine piece on Kate Winslet's omnipresent floral housedress in Todd Haynes' remake of Mildred Pierce (which should be cleaning up in the Emmy nominations in a couple of weeks -- I'm most curious to see if/how many supporting actress nods it manages since I suspect Brian F. O'Byrne and Kate Winslet are givens). Ann Roth was the costume designer for that miniseries. You can see an interview with Ann Roth about her designing process (not a Mildred interview) here.