The Crow (1994)

The Crow (1994)

Director: Alex Proyas

Cast: Brandon Lee, Michael Wincott, Ernie Hudson, Rochelle Davis, 

Bai Ling

When I saw The Crow on its original release back in 1994; it had the same effect on me as when I saw Heath Ledger in Terry Gilliam’s The Imaginarium of Dr. Parnassus (2009); I felt I was seeing a ghost. There’s something eerie about seeing an actor’s last film; you feel as if the actor still lives on even though they’ve just recently passed away, somehow immortalized by film. These types of films are more of a shock when they have scenes dealing with the death of the character the dead actor played. For example, in The Imaginarium of Dr. Parnassus, Heath Ledger has a scene in which he hangs himself from a bridge. This was a chilling scene to watch, but the full effect of this scene isn't felt until minutes after, when Ledger pops out of a treasure chest, alive and kicking, like some twisted magic trick being played on all of us. The end result, when watched in the darkness of a theater, is truly eerie. Brandon Lee pulled of a similar magic trick in The Crow because as most of you undoubtedly know, he died while making that film; which makes the scene in which he literally crawls out of his grave so  macabre, emotional and undoubtedly powerful. The irony can be cut with a knife. There’s a scene in which Officer Albrecht recognizes The Crow as being Eric Draven, the young man who had been brutally murdered a year ago. Officer Albrecht tells Eric Draven, “Don’t move Snow White! You move, you’re dead!”  and Brandon Lee slowly looks up to him, with white make up on his face and says:  “And I say I’m dead, and I move!” How brutally ironic and in a way fittingly poetic when we take in consideration the source material; James O’Barr’s poetic graphic novel, The Crow.

From inception, the idea behind The Crow was fueled by death and tragedy. James O’Barr, the creator behind The Crow started working on his graphic novel as a way to exorcise his own demons. You see, O’Barr’s girlfriend was run down by a drunk driver and as a way to get rid of all the pain that her death caused him; he started working on The Crow. The result was a romantic and poetic bullet opera fueled by despair. O’Barr told The Boston Phoenix that “there is pure anger in every page”, he even went on to mention that instead of being cathartic; he was even more messed up by the time he finished working on the book. The untimely death of Brandon Lee amplified his sadness and anger, making him wish he’d never done the book, blaming god for his luck in life. “God is a bastard” said O’Barr in an interview he did for the Boston Phoenix, “If there is one.” Tragedy it seems, was meant to follow James O’Barr throughout his life because while the comic and the film brought him success, his life was still mired by tragedy. The Crow was a bitter sweet victory. 

The production of this film was muddled by a bunch of weird accidents like a carpenter accidentally drilling a screwdriver through his hand, another carpenter getting burned by power lines, a disgruntled sculptor crashing his car on to the set, a truck catching fire on the set and Brandon Lee getting cut by break away glass! This collection of accidents, plus the death of Brandon Lee leads some to believe that The Crow was one of those cursed films, like the Poltergeist franchise. Of course that’s all a lot of bull crap, these are all things that could and have happened on any film set, which are usually a maelstrom of craziness, more so on films with smaller budgets. Best part of the whole ordeal is that an amazing film shined through the troubled production. In my book, The Crow remains a masterpiece of Gothic cinema. So much so that I try and pinpoint a film that is like it, but nothing pops up. I mean, sure, it’s a revenge film of which there are many, but none of them have the combination of elements that brought The Crow together with such panache. It is in my book a rather unique film.  

James O’Barr’s graphic novel is a mixture of romance, violence, poetry and rock and roll and this is one of the things I love most about the film, it’s just so damn rock and roll! This movie is so rock and roll that Eric Draven walks around with a freaking guitar on his back! No amplifier or anything, just the freaking guitar on his back, because you know, it makes him look that much cooler. Even though James O’Barr is constantly quoting Joy Division and The Cure songs (two bands that inspired O’Barr as he drew and wrote) it was actually the filmmakers who made Eric Draven the lead singer of a rock band named ‘Hang Man’s Joke’, probably as a way to reference the death of Ian Curtis, the lead singer of Joy Division, who hung himself. How rock and roll is this film? Well, there’s this awesome scene in which Draven is sitting on a roof top, playing his electric guitar as the sun sets. That scene is in my book the epitome of rock and roll coolness. So yeah, while the book displays an obvious affection for rock and roll as a means to channel the whole melancholic sadness that Eric Draven is going through, it was the filmmakers who amplified this angle to the max. And it was Alex Proyas, the films director who opted to make the film dark and noir-ish, originally, Proyas wanted to film the whole thing in black and white, but the studio opposed so he went with a color palette infused with a lot of black and white, a lot of grays. The result is one of the darkest films you will ever see. Almost the entire film takes place during the nighttime which gives it a very unique feel. 

Of course, there are some differences between graphic novel and film, characters are switched around and eliminated as is common place with book to film adaptations. One noticeable change was that in the book, they don’t attack Shelly and Eric while they are in their apartment. In the comic, the reason for their murder is a lot more random. Funboy and his goons are out on a drug infused joy ride when they come upon Eric and Shelly, whose car broke down on a lonely road. In the book, the one who suffers “thirty hours of pain” in a hospital is actually Eric Draven himself, not Shelly. The comic has way more poetic passages of Eric Draven remembering Shelly and their times together, also, there’s the mysterious ghost/zombie cowboy that lurks ominously in the background of the comic, guiding Eric Draven through his mission here on earth. They actually shot some scenes with this ghost cowboy character; he was played by Michael Berryman. Unfortunately those scenes were deleted for pacing reasons. Still, even with all these alterations and deletions, I’d say that the film is an excellent translation of the graphic novel. Not only does the film capture the spirit and essence of James O’Barr’s comic books, it also adds a more rock and rollish vibe to the proceedings.

At the same time, there are scenes which are perfect translations of the comic, for example, the scene in which Eric Drave visits Gideon’s Pawn Shop is an almost panel for panel translation of what we get in the comic…another faithfully translated sequence is the one in which Eric Draven visits Top Dollar’s hide out, stands on the table and starts shooting everybody.  The only difference is that the comic is actually a hell of a lot more violent with that shoot out. The Crow isn’t a story about a hero, in fact, James O’Barr himself says that he doesn’t see Eric Draven as a hero, rather, he feels that “He can be absolutely cold-hearted and ruthless at times. When he goes into a room to get one person, everyone else in the room is probably going to die as well. I think what he is doing is terribly romantic, but I wouldn’t call him a hero” I agree. I’d say that there’s no mercy for the wicked when it comes to Eric Draven. He figures if you’re in a room with Top Dollar and Fun Boy, then you must be a bad guy, and bad guys gotta pay, they gotta be stopped. Both the book and the film are infused with a burning hatred for scumbags.

And speaking of that shoot out, I recently re-watched the film to write this review and damn, I was blow away by how good it is, it has to be one of the all time best shoot outs ever, right up there with the shoot out from Michael Mann’s Heat (1995). This shoot out has to be one of the coolest, most extended shoot outs in film history! It goes on forever! Bottom line is The Crow is perfectly Gothic, dark and extremely violent film. The black leather, the rock and roll, the gothic churches, the stormy lighting filled nights…it all adds up to the perfect gothic masterpiece. I still to this day love it and considering the rest of his body of work, I still consider it Alex Proya’s best film. It’s also Brandon Lees best film, the one that made him a star, it’s the one he is most remembered by. He pulled off such a sensible performance, you feel his pain and his love for Shelly. True, Brandon Lee went out before his time, his death was as untimely as it could get, but what an amazingly beautiful swan song this film is. My hats down to you Mr. Lee. It’s true, you are dead, but you still walk my friend, you still walk.

Rating: 5 out of 5   

  

Oliver Stone's Talk Radio (1988)

Title: Talk Radio

Director: Oliver Stone

Writers: Eric Bogosian, Oliver Stone (based on the book by Stephen Singular and the play by Eric Bogosian)

Cast: Eric Bogosian, Alec Baldwin, Ellen Green, John C. McGinley, Michael Wincott

Review: 

It's no secret that Oliver Stone is a director known for making films that can be considered controversial and subversive. The famed director seems to thrive in showing the ugly, violent, twisted and dark side of human nature. He loves exposing it to us, as if saying: "uh, guys, check this out why don't you? Maybe we can improve a bit on this part of our society?" I have to say I love Stone's films just for that. Along with The Hand (1981) one of Oliver Stones first directorial efforts (and a horror film no less!) Talk Radio is not one of Stones most renowned films. In fact, you might not have even heard of it until now, but trust me, thats no reason to ignore this great film. It is every bit as subversive and socially conscious film as any of the other film in Oliver Stones repertoire. What's it about? 

Essentially, Talk Radio tells the story of Barry, the host of a radio show known as Night Talk. On this show, Barry takes calls from the public and basically either gives them great advice, or insults the hell out of them; depending on the nature of the call. Barry's show catches the attention a big corporation that wants to put his show on national syndication, in other words, they want Night Talk to be heard all across the nation. This kind of makes Barry nervous because he doesn't want to loose creative control over his show. He likes to say what he wants, when he wants and how he wants without any rules and regulations that come from being associated with a big corporation. At the same time, Barry is starting to feel the preassure of talking to so many crazy, twisted people on a day to day basis. Will his job eventually get to him? Can he take talking to schizo's, Neo-Nazis and rapists on a day to day basis? 

So what we are talking about here is a film that wants to show us how sick and twisted the world we are living is. Its one of those movies that criticizes society and begs us to re-examine ourselves and how we live. This type of film can feel like taking an ice cold shower because we live our lives in this world, but sometimes we simply take for granted how inseane humanity is. The crazy things we think and do. Our lifestyles, our beliefs, how we are. And this movie holds a mirror up to all those who watch it. Its one of those films that has anger laced to it, kind of like that anger I saw in Network (1976). I know theres a lot of you out there who haven't seen Network, but trust me, you should. It's one of those movies from the 70's that had some balls to it, and to me, it's the kind of film that doesn't get made much these days, cause you know, according to some, these films are so politically incorrect! They are too sincere, too shocking, and you know, the powers that be don't like this kind of film to get out, it might wake up a couple of minds. Network is a film that strangely feels more appropriate now then when it was originally released. It has that great line "Im mad as hell! And Im not gonna take it anymore!" That line from Network encapsulates perfectly the feeling you'll get when you watch Talk Radio, which of course I loved because as some of you may already know, I love films that show the truths of the world, the way things really are, not the way the media wants us to see them. 

The main character, Barry the talk show host, is a character that resembles Howard Stern, the real life talk show host who went on to become a celebrity simply by insulting as many people as he could over the radio. If you guys remember correctly, the guy even got his own TV show on E! Entertainment Television. Stern had a show that made him a millionaire and that lasted for years and years, he even got his own movie made called Private Parts (1993). Barry is essentially a Howard Stern type of character, with the slight difference that Barry has more of a social conscience than Stern ever did. Barry is a guy who tells it like it is, and same as in Network, there is this brilliant moment in the film where the filmmakers have their main character spew all the negativity and all the things they see wrong in the world in one electrifying eye opening moment. This to me was the pinnacle of this bleak film. It's the kind of film that makes you think "damn, its true, the world is extremely ass backwards!"  

Whats interesting about this film is that it takes place almost entirely inside of a radio station. Some might think that this might make for a boring film, but strangely enough it doesn't. What makes this film interesting is its dialog, its themes. What the film has to say is the main attraction here, and what this film says is extremely relevant in my book. Talk Radio is based on a book which in turn spawned a stage play, which would probably explain why it takes place in so few locations. But truthfully, it didn't matter to me. I found it extremely interesting how Oliver Stone made an interesting and thought provoking film within the constraints of one room! What Stone did to keep things visually interesting is, he focused on the little details, the faces, the consoles, the gadgets, the microphones, Stone successfully showed us the little things that make up a radio station and the stress and claustrophobia of working in one. 

Eric Bogosian, playing Barry Chmaplain in the stage play

Another thing that makes Talk Radio special is its cast. Alec Baldwin plays the guy who runs the burocratic, business side of running a radio station. He does his role well, but what shocked me the most is how thin and young he looks! I mean, when you compare the Alec Baldwin in It's Complicated (2009) to the Alec Baldwin in Talk Radio, we are talking about 300 pounds of difference here! Eric Bogosian, who I knew very little about previous to this film blew me away as Barry Champlain, the no non sense talk show host, who isn't afraid to say what he really feels to the world. He plays Barry with an edge, an out of control persona who is equal parts truthful as he is chaotic. What makes things even better is the fact that Bogosian not only wrote the stage play, he also played the character on stage. So he was the perfect guy to play Barry. Michael Wincott, who'm some of  you might remember as the villain 'Top Dollar' in The Crow (1994), has an extremely funny role in the film. He plays a teenager who listens to the radio show and is a fan of Barry, but, ultimately paints a disappointing portrait of America's youth. His character is one of the few funny spots in the film, cause he plays this spaced out rocker dude. Even thought his performance can be considered a bit of comedic relief in an otherwise entirely dark film, his character is actually pretty relevant in the film. Then we have Ellen Green, whom I instantly recognized as Audrey from Little Shop of Horrors (1986). Once again, same as in Little Shop of Horrors, she plays a very vulnerable and delicate character, Barry's ex-wife. And finally we have John C. McGinley, an Oliver Stone regular you might remember him as Charlie Sheen's co-worker in Stone's Wall Street. On Talk Radio he plays Stu, Barry's best friend who assists Barry in making sure the technical side of the show runs smoothly. Since this is a film that relies on performances and dialog, its great to see that we have such a good cast to run with the film. 

All in all, I loved this film because it has the guts to tell things for what they are. It analyzes how much society depends on entertainment, how sometimes our lives are so hollow, that we got nothing better to do than be entertained, since we don't have an original thought in our heads. We are like drones, connected to The Matrix, not thinking, just watching, hearing, being given everything. At one point, Barry actually challenges his listeners to come up with something original! It also criticizes Radio Talk Show hosts like Barry, who criticize the status quo of things, but are ultimately a part of the system they supposedly despise. To me, this film can be categorized along side similar films like the aforementioned Network, Joel Schumacher's Falling Down (1993) and Allan Moyle's Pump Up the Volume (1990). Films that criticize the media, society, and our need to stand up for liberty and truth instead of the brainwashing and the numbness. Films that speak about our constitutional rights to freedom of speech; a right that can sometimes seem like a facade, a lie, a mere formality written on paper thousands of years ago, but that doesn't really stand for much these days.  This is a film that begs for you to look at yourself, look at the messed up world we live in and wonder: How can I truly make a change? How can I truly make things better?

Rating: 5 out of 5