Dick Tracy (1990)

Dick Tracy (1990)

Director: Warren Beatty

Cast:  Warren Beatty, Madonna, Al Pacino, Dustin Hoffman, Charlie Korsmo, William Forsythe, Mandy Patinkin, Catherine O’Hara, James Caan, Dick Van Dyke, Kathy Bates

The 90’s brought on the rebirth of the big budget comic book movie (which had been dead since Richard Donner’s Superman films) thanks to the phenomenal worldwide success of Tim Burton’s Batman (1989), suddenly every studio wanted to make a comic book movie, the problem was they didn’t know how to go about it. For some reason, they got the idea in their heads that going with ancient comic book heroes like The Phantom (1996) and The Shadow (1994) was a good idea. And even when they did do original comic book films, they went with a comic book that paid tribute to all those old heroes called The Rocketeer (1991). The studios hadn’t figured out yet that people really wanted the more contemporary heroes like Spiderman and the X-Men, which is probably why a lot of those old school comic book movies tanked at the box office. Batman made kajillions because the character had remained alive in the collective consciousness because Batman has always remained in print, it had its own television show and it became a part of popular culture. Not so with the older characters, which though not entirely dead, were not as recognized by modern audiences. In other words, characters like The Shadow and The Phantom all had their day back in the 30’s and 40’s. Today’s kids aren’t really familiar with these characters. The same can be said of Dick Tracy, Chester Gould’s hard boiled detective that started out in comic strips, on news papers, three little squares of story per week. The strip was such hit that they made Dick Tracy serials, radio shows, b-movies, you name it. Unfortunately, Tracy never got the big screen treatment that Chester Gould wanted. That is until Warren Beatty came along and directed this here picture.

I remember seeing Dick Tracy in theaters, that awesome summer of 1990. It was a big summer as far as blockbuster movies go. Squished in between big action films like Robocop 2 (1990), Die Hard 2: Die Harder (1990) and Total Recall (1990), Beatty’s Dick Tracy (1990) seemed tame in comparison, it made my 15 year old mind wonder if it was going to make it a the box office. I remember there was a big publicity push for the movie, Disney (under the Buena Vista Pictures banner) made sure you knew about the film one way or another, right down to selling Madonna’s soundtrack ‘I’m Breathless’, which by the way I really dug and still own to this day. Was the film a huge hit in theaters? Well, it didn’t lose money, but it wasn’t the smash hit that they were expecting either. The smash hit of that summer was Patrick Swayze and Demi Moore in Ghost (1990). Dick Tracy ended up making  162 million dollars worldwide, a figure that didn’t impress its producers and probably the main reason we never saw a sequel. But who cares what producers think right? At the end of the day, what we really care about is if the movie was good or not.  And in my opinion, Dick Tracy was excellent; the problem was that Dick Tracy was a hero from another era, with a big budget film that came many decades too late.

But if you can see past the fact that Dick Tracy is a hero from the 30’s you can actually have a lot of fun with this movie. While I understand why the masses shy away from anything they consider ‘old’ or ‘passé’, I personally enjoy all types of films, I don’t just watch contemporary things, I can appreciate the many attributes that a film like Dick Tracy has to offer, for example, it’s a beautiful film to look at. Warren Beatty aimed to make a film that looked like the comic strips; so he went with a color palette composed of primary colors that leap off the screen; this movie is pure eye candy, a vibrant kaleidoscope of colors! Dick Tracy was made using old school filmmaking techniques and I have a great appreciation for films made using miniatures and matte paintings to create city landscapes, I just love that about films made this way. The interesting thing is that Dick Tracy was made just before computer generated effects were about to take over, so it’s one of the last films to be made this way. I think that Beatty wanted to purposely make an old school film, same way that Coppola purposely used old school visual effects to make Bram Stoker’s Dracula (1992). In this way, the director evokes a bygone era of filmmaking; Beatty wanted to take us back in time. And he achieved it if you ask me. We go back to a time when hardboiled detectives were out on the streets trying to solve the crime, getting the bad guys in the big bad city. In this way Dick Tracy is an interesting film because it has elements of film noir, yet it’s also colorful and vibrant, bringing together an interesting mix of genres and styles.

The cast is something truly amazing! Beatty as Tracy is pitch perfect casting if you ask me. Beatty has said that they tried applying fake noses and jaws on him to make him look more like Gould’s sketches and that ultimately they decided not to go with it because it would distract audiences. I think it was a great idea because Tracy’s normality goes in direct contrast to the downright grotesque villains. And while the villains are comic book monsters, Tracy is human, he’s all about heart. He’s Tracy, the ultimate good guy who is in many ways like Superman, the embodiment of all that is good and pure in humanity. He’s loyal to the love of his life, Tess Truehart even though Breathless Mohoney is trying to eat him up every chance she gets. Tracy’s such a good guy; he wants to adopt an orphan he picks up from the streets. He’s all about the law and doing what’s right, he’s honest and hard working, he wants to get the bad guys. He’s the ultimate do gooder. His counterpart is Al Pacino’s Big Boy Caprice, one of Pacino’s most over the top performances, he got an Oscar nomination for this performance. He just goes nuts here. Madonna as Breathless Mahoney oozes sensuality, you have to understand this was Madonna at the peak of her youthful beauty, she was so damn sexy in those days! She exploits that sensuality for all its worth. Every line Breathless speaks is in double entendres. Then we have Big Boys gang, which is composed of a who’s who of character actors like William Forsythe, Ed O Ross and Paul Sorvino. We also get big name actors playing smaller roles, like Dustin Hoffman playing ‘Mumbles’ one of Big Boys men, who, as his name suggests, mumbles everything he says. All these characters make the film an amalgam of craziness straight out of a comic book, made all the more interesting because each and every one of these actors are made up to look exactly like Gould’s original drawings. Which I’m sure made making this film, a huge challenge, I mean, having all those actors in make up at the same time!

The icing on this Dick Tracy cake is the music! The orchestral score was composed by the always excellent Danny Elman. His score is grandiose and epic, similar in many ways to his score for Batman (1989), but then again, that’s the exact reason why Elfman was hired, Beatty was impressed with Elfman’s score for Batman (1989). Then we have the soundtrack, written by Broadway composer Stephen Sondheim and sung by Madonna, it makes for one of Madonna’s most unique albums. It’s fun, retro and heartfelt. So as you can see, many awesome elements came together to make Dick Tracy an extremely unique film, a trip back in time to simpler times when good was good and evil was evil, no place for in betweens; or is there? At the end of the day, while Tracy is always out to get Big Boy and his gang, this film is really about Tracy having to decide between pleasure and sensuality over true love, marriage, kids and possibly becoming a family man. Which one will he choose? Tracy is torn between being a bachelor or becoming a family, some say this mirrored Warren Beatty’s own personal life, after all, Beatty was the ultimate bachelor back in his day. So anyhow, I’ve gone on long enough, bottom line is Dick Tracy is an excellent comic book movie, dare I say one of the best ones ever, an excellent production from beginning to end.  

Rating:  5 out of 5  

    

After Hours (1985)

Title: After Hours (1985)

Director: Martin Scorcese

Cast: Griffin Dunne, Rosanna Arquette, Verna Bloom, Linda Fiorentino, Teri Garr, Catherine O’Hara, John Heard, Dick Miller, Bronson Pinchot, Cheech Marin, Tommy Chong

Review:

Every once in a while a director will take a project that could have otherwise turned out to be bland or formulaic and elevates it, makes it better then it has any right to be. I think this was the case with After Hours. You kind of get the feeling that had this comedy been under the command of a lesser director, it simply would not have been as good as it is. Had legendary American filmmaker Martin Scorcese not been behind the camera, it could have ended as just another romantic comedy, lost in the shuffle and forgotten in time. But in the hands of Scorcese, this dark comedy is a superior form of comedy film in my book and I might add, criminally underrated.

After Hours tells the story of Paul Hackett, a New York City computer programmer who’s fed up with his life. He’s got a boring job, doing the same thing over and over again; when he goes back home, it’s to watch the same boring channels on television and judging by Hackett’s one tone face, there’s nothing unique or interesting on it;  he surfs through the channels with a blank stare on his face. So after a while he decides to  go out and venture to the outside world, searching for human contact, searching for something other then the numbing loneliness he lives in. The streets he ventures to are the perilous streets of the big apple, circa mid-eighties, which means dark, dangerous and manic. He stops at a coffee shop to read his favorite novel and stumbles upon a beautiful girl whom he apparently has a couple of things in common with. They exchange phone numbers and part ways, but Paul's loneliness gets the better of him and so he ends up calling her up on that very same night! They meet again at her apartment and Paul seems to think he’s going to be getting lucky, for what is wrong with casual sex? A random night of passion? Absolutely nothing! Unfortunately for Hackett, Marcy ends up being a true wacko! He sees the signs and decides to abort mission, but as Hackett will soon find out, going back home is not going to be an easy task.  

Many things make After Hours a good film, not just the fact that Scorcese directed it, though that is the big bonus in my book. Actually a lot of good things came together to make this as special a film; for example, the cast is amazing! The film is mostly centered on Griffin Dunne’s character Paul Hackett, he plays the every man. A blue collar worker type that’s fed up, he wants human contact, he wants something more then just his own self to talk to at night. Unfortunately, the universe seems to be conspiring against him on this night, this is one of those movies where everything goes wrong for the main character. He runs out of money, gets mixed up in all sorts of trouble and meets the craziest people! True blue New York people who live jaded lives in a jaded city. To you or I these characters that Hackett meets through out the course of the evening might seem nuts, or too crazy for real life, but to a New Yorker, this film is merely an exaggeration of every day New York life. Every character is brought to life by a gifted actor. Terry Gar for example, whom I always remember as Inga from Mel Brook’s Young Frankenstein (1974), is hilarious on this one as a waitress who’s a lonely desperate woman, looking for the right man to snatch up and devour! Catherine O’Hara plays this psychotic woman who has her own Mister Softee Ice Cream truck, her character is hilariously jaded out of her mind.  I mean we even get freaking Cheech and Chong on this film! The cast is very well rounded out, it makes watching the film a pleasure.

But of course, the big draw here for me is that Scorcese directed the film. What I’ve always loved about Scorcese is how very New York he is. He is enamored with the city, same as Woody Allen is, can’t say I blame ‘em, the place can be rather magical, vibrant, alive. It is a beautiful city and a dark city; it can be the stuff of dreams or nightmares depending which corner you turn on. New York City's ambiguity is what  shines through so well in After Hours. You can meet a beautiful girl in a coffee shop in the middle of the night, but said girl can turn out to be a total head case. It’s these little details that the film has that make it such a New York film, the crazy taxi driver, the cold crazy people, the dark haunting city streets, the bums, the punks, the night clubs, the gay bars, the unexpectedly friendly people, the film effectively captures the dark beauty that was New York of the 80’s, I loved that about it, so my hats down to Scorcese for capturing New York City life so well, it’s something he’s gotten very good at through out his career. I mean, this is the director who made New York, New York (1977), Taxi Driver (1976), Raging Bull (1980) and Mean Streets (1973) all of which take place in the big apple. Scorcese is without a doubt a director that displays his love for the city that never sleeps; he’s the most ‘New York’ director of all. The fact that the entire film was shot in New York City streets and entirely at night is what gives After Hours its unique look.

But aside from that, the film has these amazing camera shots, which is really what let’s us know there’s a master filmmaker behind the cameras, it’s little details, like when we follow these keys that someone throws from a building, or when Hackett’s twenty dollar bill flies out the taxi cabs window and the camera follows it. My favorite shot is the one with which the film ends, the camera simply sweeps through an office building filled with desks and computers and telephones…loved that. This is the camera work and direction that brings After Hours up for me, it elevates the film. So as you can see my friends, many things make this one special. After Hours is without a doubt an extremely underrated Scorcese film! Same as with Scorcese’s Bringing Out the Dead (1999), this is a film from Scorcese’s repertoire that many seems to be missing out on, but should definitely be seeing. Scorcese made After Hours in order to regain his love for filmmaking, you see, before making After Hours Scorcese had been trying to get The Last Temptation of Christ (1988) going, but had an incredibly hard time making it happen, until finally he let it go. He ended up making it anyways a few years later, but at the time, he was incredibly frustrated at the fact that apparently The Last Temptation of Christ was not going to happen. So he went on and made After Hours, to regain his love for making movies. His love and passion for the medium shows through in the film, this is a master storyteller giving it his best to make us laugh and achieving it, in a very artful stylish way. This is a wonderfully dark comedy.

Highly recommend it if you want to see one of these films that’s very paranoid, and fast, the film moves at a frenetic pace. It’s the kind of film that takes places during the small hours of the night, in these seedy places that are open when most of humanity is sound asleep. It’s a film that shows us that the freaks most certainly come out at night. Which is probably why Hackett is always shown running from someone, which was a nice motif I picked up while watching the film; that image of Hackett just running,  running from the freaks, from the crazies, from scary life. Paul Hackett is a character that just wants to ‘get home’ which reminds me that in some ways, this is a dark version of the Wizard of Oz, with it’s main character trying to get away from all the craziness and back to the comfort and warmth of home. By the way, the films connection to The Wizard of Oz is alluded to at one point in the film. But aside from wanting to get home, Hackett just wants to live, which I think is an awesome message in the film. He wants more out of life, can’t say I blame him for going after it even if it means going through hell.

Rating: 5 out of 5