Today is my birthday. What would I love more than anything to celebrate 44 years on this planet? World peace? Sure. An end to poverty? That would be on my wishlist. The soundtrack for William Friedkin’s 1980 masterpiece ‘Cruising’ remastered from the original master tapes? HELL YEAH!!!
And that’s whats happening. The brilliant company Waxwork Records is releasing the ‘Cruising’ soundtrack after sourcing master tapes, liaising with Mr Friedkin and giving the release the love and respect it truly deserves (something we’ve come to expect from Waxwork). And it’s here and it’s queer. Apparently this project has taken the company 4 years to complete.
This release comes at a time when Arrow Video (who are thankfully one of the best Blu ray labels) are due to release the film on Blu ray later this year.
Mark my words- 2019 will be the year that ‘Cruising’ is finally fully reappraised as the classic film that it really is (something that some of us have known since we first saw the film) and will be viewed as a cinematic gem that deserves to be in a lineage of other classic films such as The French Connection, The Exorcist and Sorcerer.
The soundtrack drops this Friday. My essay on ‘Cruising’ is here.
This news is the best birthday present I could have wished for.
A British film from the 50’s about professional boxing. We get to meet those fighters who participate in a one-night event that involves a programme of many fights.
This film is like a snapshot of a long lost era of British filmmaking. We have great characters, a sly sense of humour at play and grit in the way the sport is portrayed as completely corrupt and in turn corrupting.
The film also shows how truly brutal the sport is. The ending is totally gut-wrenching and completely unexpected.
We also get British film royalty in the guise of legends such as Joan Collins, Joan Sims and Sid James as part of the cast.
A movie directed by a young Francis (Ford) Coppola and produced by Roger Corman.
A genius plot-
One night, while out rowing in the middle of a lake, John Haloran, and his young wife Louise, argue about his rich mother’s will. Louise is upset that everything is currently designated to go to charity in the name of a mysterious “Kathleen.” John tells Louise that, if he dies before his mother, Louise will be entitled to none of the inheritance. He promptly drops dead from a massive heart attack. Thinking quickly, the scheming Louise throws his fresh corpse over the side of the boat, where he comes to rest at the bottom of the lake. Her plan is to pretend that he is still alive to ingratiate her way into the will. She types up a letter to Lady Haloran, inviting herself to the family’s Irish castle while her husband is “away on business.”
But then after this something happens that changes the course of the whole film (I’m not going to ruin the film for potential viewers). This was a brave move a la Psycho and Night of the Living Dead.
And it works brilliantly. In fact, everything about this film works amazingly. It’s a great film with a great premise, gorgeous cinematography, uniformedly good performances from a cast of unknowns and direction that deftly straddles both drive-in cinema and the Nouvelle Vague. This is part Homicidal (this was made to cash-in on it’s success) and part Carnival of Souls but whilst retaining it’s own identity. Theres a strong Giallo feel to proceedings- the gloved killer with an ax, the sinister doll symbolism.
The location used deserves a mention. A spawling castle in Ireland with a scene that takes place in a Dublin bar make this film even more special. It feels like part film, part time capsule. The costume design of the film is also something to behold- classic men’s suits (think Sean Connery as Bond and Michael Caine in The Italian Job), chic women’s miniskirts and the best bleached blonde 60’s haircuts seen in any film of the period.
WARNING- The ending of this film is so sugar coated that you will become diabetic.
This film is basically saying ‘Life sucks whether you have a facial deformity or not’.
Julia Roberts is great (as per). Owen Wilson is in a film that isn’t an utter embarrassment for once (way to go).
But the film feels like an overlong episode from some bright and breezy TV show. Theres no real depth even though the subject of someone being different could be examined perceptively in relation to human nature and people’s vicious pack mentality.
Theres also some vile stereotyping going on here. All the bullies within the film are white and stinking rich. The goodies either have a facial deformity, are related to him, aren’t white or are a member of another religion (the Jewish headmaster). Social justice filmmaking. Urgh.
If John Waters had made this film, the lead character would have accentuated his unique looks, dressed in drag and owned this film. Maybe Mr Waters could remake this. In fact I think hes already made that film- it had songs, dance routines, Divine and was called Hairspray.
Watch Mask instead. You get Cher and bikers thrown in as well.
A movie that goes one way but changes direction massively.
In fact before the plot twist that occurs I thought this was a film about the most unlikable and privileged kids I’d ever seen on screen. In fact they’re so privileged that when they got to college they would be the biggest social justice warriors, I thought as I drifted away from the dull film.
In fact the only tension or frisson in the first half hour was more centred around the couple next to me who kept talking throughout the film. They stopped after I suddenly shrieked ‘For fucks sake! Shut the fuck up!’
But then the film has a huge volte face regarding its plot and it touches upon something that is still taboo in real life and on film- killers who are children. In fact, as soon as the film started to touch upon this film I instantly thought of the case of James Bulger. I was genuinely shocked to see the use of a can of paint in the film. Anyone who knows about the proceedings of Bulger’s death will know that paint figures predominantly. Was this coincidental or intentional?
The film could have now developed into something much darker, brutal and savage. It doesn’t exploit this brilliant plot twist and is a bit too obsessed with gloss rather than grit. The last 15 minutes are extremely contrived and more Hollywood than horrorshow. This is a shame. The very end of the film is funny but this should have been a vivid display of gallows humour rather than a jokey conclusion to a good but not great movie.
A wasted opportunity. But not a failure- in this era of reboots and reboots (the curse of modern film), any trace of originality and innovation should be cherished.
If you want to see a much better ‘killer kids’ film watch Bloody Birthday. The best Christmas horror films are still Black Christmas, Silent Night, Deadly Night and Christmas Evil. If you want to watch a movie about vapid, overprivileged kids, you’re asking the wrong person.