20th Anniversary: POINT BREAK (1991)

By the time Point Break emerged in the summer of 1991 I was already a fan of Kathryn Bigelow having obsessed over Near Dark (1987) on VHS in, I think, 1990? I was not disappointed since Point Break has at least a couple of sequences in it that made good on Near Dark's terrifying bar massacre for the sheer "finger lickin' good" adrenaline that pumps through them. When I think of great action direction the foot chase sequence in Point Break always comes to mind if I don't get stuck in James Cameron oeuvre. With the recent rebirth of both Bigelow (The Hurt Locker) and Cameron (Avatar) perhaps there is hope for action cinema still?

Online searches for Point Break screencaps reveal yet again the dearth of movie images online from the early 90s (just before the internet took over, natch) so we can't marvel at Kathryn Bigelow's generous attention to Keanu Reeve's wetsuit ass or the way his wet bangs cling so perfectly to his forehead in slow motion as if entire action sequences were shot as frame-by-frame meticulously as any frozen fashion shoot meant to be blown up on billboards everywhere.

I asked Team Film Experience to share their most vivid memories of the one arguable classic in the pretty-FBI-agent-meets-new-age-bankrobbing-surfer-guru genre. Shut up! It is so a genre.

Kurt (Cinema de Gym): Collectively, my most vivid memory of Point Break is definitely the skydiving scenes. In my teens, I went through a phase where I was totally obsessed with extreme sports and extreme sports movies, perhaps because extreme sports don't exactly require the same hand-to-eye coordination of regular sports, which I extremely lacked. Point Break was one of my big, masculine extreme sports movies, along with Airborne and Drop Zone, the Wesley Snipes skydiving movie. I totally had it my head that I would skydive as soon as humanly possible, especially since my dad had done it back in the day. My thoughts have since...changed. Now I can't imagine just jumping out of an airplane. Maybe if I magically ended up in Point Break 2...

Editor's Note: If we get 150 new subscribers today (see sidebar for TFE's budget to 'dream a little bigger darling') Nathaniel will personally foot the bill to convince Kurt to skydive and share the video for your viewing pleasure. Kurt is very handsome so wouldn't you love to see him terrified and screaming in the clouds as he plummets to possible death?!? If we reach 300 paid subscribers this week (the goal) Nathaniel, whose father has also sky-dived and who is also terrified at the thought of leaping from a plane, will do it with him. Editor's Note Pt 2: The Film Experience accepts no responsibility if anyone dies while trying this.

Craig (Take Three): What I remember most is Kathryn Bigelow showing 99% of her action-filmmaker peers of the time exactly how action cinema is done 100% of the time. 

Michael (Unsung Heroes): All my strongest memories of Point Break involve Nick Frost's anguished Keanu interpretation in the movie Hot Fuzz, so methinks I may be due for a refresher viewing of Bigelow's surf/heist opus.

JA from My New Plaid Pants: I've been meaning to revisit it but I was never a big Point Break fan as a kid. Even back then surfer talk set my nerves on edge. But the first thing I think of is that post-coitus shot of Keanu and Lori Petty in bed where she's about a hundred thousand percent butcher than he is. He looked like a pretty porcelain doll and she was this motorcycle mama that was just gonna pick him up and smash him on the floor.

Ha! I love that image, too. Whatever happened to Lori Petty? Ah well. At least she'll always have the early 90s see also: A League of Their Own and Tank Girl.

P.S. Team TFE is looking for a couple of new members to gear up for Oscar season. If you consider yourself a fine writer who is able to get interesting fun points across in short bloggy doses (no current blog is necessary if you have samples), understand TFE's voice (i.e. you "get" and enjoy the site) and live in a major market (and can thus get to screenings or festivals), contact Nathaniel at film experience (at) gmail (dot) com. 

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?

Click to read more ...

A Centennial Shout-Out (Shriek Out?) To Bernard Hermann

You know what was more shocking than Alfred Hitchcock's The Birds (1963) not having a film score? That Hitch' always had Bernard Hermann at the ready and still went without one.

The internet often does a spectacularly bad job of noting important history (it's all future-future-future which an occassional "now") so you wouldn't know that today marks the 100th anniversary of one of the most important film composers who ever lived!

What would the cinema even sound like without Hermann's shrieking violins from Psycho (1960) for instance? Different surely, and lesser though perhaps it would be a relief if people stopped ripping it off and moved on. Supposedly Hitchcock didn't even want them at first.

Some other notable films include Citizen Kane (debut), The Ghost and Mrs Muir, Cape Fear, North by Northwest and Taxi Driver (1976), his last, which he just barely completed before his death on Christmas Eve of 1975.

True to the odd odd form of Oscar's music branch, Hermann was never nominated for his frequent collaborations with Hitchcock, though those scores remain the best remembered work of his career. He received five nominations in total. In a strange twin coincidence his first two nominations (a double dip for 1941) were for his first two films (Citizen Kane and The Devil and Daniel Webster) and his last two nominations (a double dip for 1976 posthumously) were for his two last scores (Taxi Driver and Obsession). He won his only Oscar for The Devil and Daniel Webster (1941) right at the start.

Listen to one of his film scores while you work today! Do you have a favorite?

Related Post: Hit Me With Your Best Shot "PSYCHO"

Game Off

Three stories of how I'm off my game.

1. In the podcast post about "Midnight in Paris", I was all "you should read these articles" and then I didn't link to them. D'oh. We briefly mentioned Fandor's "TOP TEN FILMS ABOUT FILMMAKING" which you should definitely look at (I did the Sunset Blvd honors therein and I shared a personal ballot) and we talked about Mark and Joe's series on Oscar nominated Original Songs which has covered 1980 "Fame", 1981 "Arthur", 1982 "Up Where We Belong", 1983 "Flashdance", 1984 "I Just Called To Say (I Love You)", 1985 "Say You Say Me" and 1986 "Take My Breath Away" thus far. It's great fun to read.

2. Today is the 50th anniversary of THE PARENT TRAP (1961) only one of my favorite movies of all time. I think I was born loving it. Maybe I was meant to be twins? And I forgot to write it up. *sniffle* Forgive me Hayley & Hayley!

Yes, it is amazing!

3. You have to be chosen! With each passing day my own Green Lantern review fades in my own estimation (and I was so happy with it when writing it) whilst my hatred for the movie grows.

First Christopher Orr at The Atlantic provided the funniest traditional review, absolutely skewering the movie's hateful messages. I had tried to do the same with that "thinking is bad for you!" anti-intellectualism angle but the Tyranny of Beauty complaint is just as valid when it comes to the movie's deplorable subtext. Now Topless Robot has an incredibly funny but, more importantly, entirely accurate synopsis of its "best" scenes. It's hilariously precise and a great reprimand to all future movies that would like to have their screenplays written by committees and portray"heroes" as assholes whilst demanding that you root for them.

Remember how juvenile and bratty that movie Jumper was wherein the "hero" basically called everyone watching it "schmucks" in the opening scene and then we were supposed to root for him and his enormous and undeserved powers anyway? Green Lantern is totally like that... but it gets away with it a bit more on account of cocky Ryan Reynolds winning the sweepstakes of "who would you rather stare at you in 'puny human'* contempt mode?" sweepstakes handily over whiny Hayden Christensen whose ass you could probably kick anyway.

*I realize I just mixed up superhero tropes. Shut up! My ego has already taken a beating.

I will diminish and go into the East and remain Nathaniel.

Best Shot: "Peggy Sue Got Married" ... Her Second 25th Anniversary

Hit Me With Your Best Shot is a series where we look at favorite images and choose a "best shot" from a pre-selected movie. The moments that most define a film, elevate it, or merely gives us the most visual pleasure. "Best" is a fluid adjective. TWO WEEKS FROM NOW (June 29th) we'll be discussing Luchino Vischonti's Rocco And His Brothers (1960). Won't you join us? It's supposed to be awesome.

Francis Ford Coppola's PEGGY SUE GOT MARRIED (1986).

It's all in the transitions with Peggy Sue Got Married. And with Peggy Sue (Kathleen Turner), who begins the picture distraught over her impending divorce and ends the picture by rejecting that new future (divorce) and for the recent past (troubled marriage). In the present tense, she's attending a high school reunion (a celebration of the past) while worrying about her future. And soon, after collapsing on the reunion's stage, she's thrust back into her own past... but aware that she shouldn't be there and viewing her past from the vantage point of the future. She's always out of time.

Note the way Coppola frames her at key moments, like this one above, where he separates her from things she is very much a part of, like this 25th High School Reunion. (I figured the movie's 25th anniversary year was a good time to revisit it and I'm so glad I did.)

In the lead up to the most magical and compelling shot in the film, she returns to her childhood home and considers knocking as the door drifts open of its own accord. Again we see the heroine separated visually from the main setting of the story, but in both cases she's about to enter into the present, whichever present that is, but she's doing so very tentatively. She either doesn't want to be there or she does but happens to be terrified. It's hard to live in the present but it's even harder when that present is the past.

The best shot in the film comes very early when Peggy Sue enters her childhood bedroom. Coppola moves the camera around the room and accelerates in a dizzying circle until we're back with the middle aged woman as she rediscovers her adolescence. There are no edits (THANK YOU!) as Peggy repeats the circling, rediscovering the room she grew up in. She seems utterly bewitched by the simplest things like a shoe on the carpet, her record player, a wee book. The room is lit so softly and superbly by the late cinematographer Jordan Cronenwerth and he was deservingly Oscar nominated for this picture! [Trivia note: His son Jeff was nominated just last year in the same category for The Social Network]. When Peggy finishes her tour, we've seen Kathleen Turner go from hypnotic trance to simple joy to confusion and then back to terrified, still not at peace with her time travelling.

WHAT is going on."

This fluctuation of mood in the space of one scene, is in perfect synch with the spotty brilliance of the movie which finds funny, sad, silly and mysterious ways to dig into the crazy moodswings of those hormonally charged teenage years while simultaneously commenting on middle aged "it's all behind me" panic. You could say the same of many time travel or body switching movies, but Coppola's vision is more adult than much of this peculiar subgenre. The movie is quite funny but it's also shot through with despair. Even the finale, a "happy ending" has a strange undertow of defeatist compromise, despite the fantastical happenings proceeding it. Even if you can go home again, you can't reboot your life; you have to make peace with it.

Peggy Sue peaked early. And so it is with Peggy Sue Got Married which is wonderfully compelling in the first third, less so in the second, and sputters and collapses at the finale. In a way the movie's primary weakness is absolutely fitting. It showed such promise during its youth! Does the movie's minor reputation reflect merely that it's an older person's film -- people Peggy Sue's age, who had the most to gain from its high school in the late 50s nostalgia would be hitting 70 about now -- or is it simply a result of its own shortcomings?

Arguably the movie is only a minor footnote now, but I still love it. If it's remembered it's mostly within the context of Coppola's career and family trivia (his daughter Sofia, her accomplished filmmaking career way ahead of her plays Peggy Sue's younger sister and his nephew Nicolas Cage gets the male lead) or as the  for the peak of Kathleen Turner's short-lived mega stardom. It had a disappointing Oscar run. Turner's wonderfully playful work, which is complicated but looks easy (that's Oscar death!) is still a real beauty of a star turn 25 years later. The final image that really stung on this revisit, is not a single shot but two of them, fused in a slow melancholy dissolve.

Peggy Sue has just broken up with her boyfriend again in an attempt to save them both from their 25 years-later divorce. She sits tired and despondent, lights a cigarette and we dissolve to the next scene. The beautiful thing is that it looks just like a memory: Soulful, colorful, lively... but half-imagined.

Check out these other Peggy Sue articles!

• Movies Kick Ass "Reverse Dorothy"
• The Entertainment Junkie "one woman's hall of mirrors" -- this is a really interesting take celebrating my least favorite scenes. It's making me rethink them!
• Film Actually loves the film's quotability. It does have great lines. And hair. And teeth. And eyes.
• Missemmamm really loves Peggy Sue and shared her favorite moments
• Awwww, the Movies Peggy's wild night.