Badlands

Badlands ~ There is no doubt that the 1950s rampage of spree killer Charles Starkweather changed America. Even Stephen King has talked about how the events in the Midwest affected him and altered his life. Society was changing, youth was changing, and it was bloody.

The movie Badlands, written, directed, and produced by Terrence Malick, tells the Charles Starkweather story from the point of view of the fifteen year old girl who may have been his accomplice or may have been his captive. Played by Sissy Spacek and Martin Sheen in perhaps their best performances in my estimation, the two teens are involved in a tragic love story that is less based on fact and more rooted in Malick's vision of life and America of the time. Holly and Kit are some twisted Bonnie and Clyde for whom murder is in the backseat to their awkward love and journey into darkness.

Spacek narrates the film, giving a soft lens love struck version of events, even when we see what actually happens. Even when we know that Kit is a sociopath, Holly writes it off as strangeness or uniqueness with a romantic flair. In some of it however, as in when her father shoots her dog, one has to wonder if she was also disturbed, or a liar. And small part that he has, Warren Oates, who plays her dad, also gives a hell of a performance with few lines.

After killing Holly's father and burning the house to the ground, the two go on the run, but more or less go and live in the woods, getting back to nature, and playing house for a bit. The fairy tale notion of this mirage is broken by a passing truck in the background. The parallels to the hippie movement are apparent, even with Holly's off-kilter narration. In some places here the film mirrors the more artsy portions of Bonnie and Clyde but with more surreality. The haunting carnival score by George Tipton helps that illusion. And in some places it feels like a test run for Apocalypse Now with Martin Sheen.

When men come calling with guns, Kit and Holly are on the run again, more traditionally, in the badlands. Their love story is mirage-like and slow motion, her narration and even Kit's attempts at recording his thoughts lethargic but fascinating. In the end it becomes more seventies car chase than anything else, I guess because it had to, but it feels out of place after what came before.

Still, with all the surreality and illusionary love story, and wishing it was a crime story, I still love this movie, and watch it every time it comes on television, even if it's edited. One of my favorites, recommended, it sure rings the bell.

Lady in a Cage

Lady in a Cage ~ There was a time in the sixties when some of the queens of old Hollywood tried to make minor comebacks by appearing in low budget Hitchcock wannabe thrillers. There was Hush... Hush, Sweet Charlotte, Trog, and the classic What Ever Happened to Baby Jane?. One might even throw Jane Russell in Born Losers into the mix as well. 1964's Lady in a Cage was Olivia de Havilland's turn.

The premise is simple. De Havilland is a rich white lady recovering from a broken hip. In the days before motorized stair climbers, she has a cage elevator installed. When a power failure stops her midway between floors, she is terrorized by young punks in her own home. She is the Lady in a Cage.

The leader of the tough juvenile delinquents is a very young James Caan, and his savagery is terrifying, reminding me of the similar performances by Martin Sheen and Tony Musante in one of my favorite films, The Incident. Caan is cool cruelty in this role. Also in the cast are Ann Southern, Jeff Corey, Scatman Crothers, and the recently deceased Richard Kiel.

Olivia de Havilland both gives a great performance alone and equally frustrates viewers who might put themselves in the same situation. As mad as one might get at her for not just jumping from the elevator, the rest of the characters are much more hate-able. The film quickly turns to a parable about what monsters people are, and then quickly into a generation gap horror story. There's more here than meets the eye.

What might at first seem silly and dated, is at times a true terror. Not great, but if you're into camp horror in the William Castle vein, you might just dig it.

More Halloween Quickies

The Little Girl who Lives Down the Lane ~ This is one of my favorite movie-of-the-week-style suspense thrillers from the 1970s. Very straightforward, only a few characters to worry about – heck it could be a stage play easily, and most importantly, it’s scary without being bloody or gory. Are you paying attention, Eli Roth? These things do not go hand in hand. Now I may have gone a bit hard on Jodie Foster earlier this month, but I really do like her. She is a talent powerhouse and here she shows just how good she was even at a young age. Also showing his superior acting chops is Martin Sheen, always a favorite of mine (pre-“West Wing” at least). He is the epitome of the creepy pedophile in this flick. Excellent fodder for a popcorn-filled Halloween Friday night.

The Batman Vs. Dracula ~ I was kinda put off by “The Batman” animated series when it began with its manga design, obsession with the telling of the early stories and its changes for the sake of change. This made-for-DVD movie pitting this new animated version of Batman against the real prince of darkness turned my head and got my attention. In my opinion, this movie was also the turning point for the TV series as well. Dracula is a real vital threat outside the safe constraints of ‘children’s programming’ and the creators take full advantage of it. This is a rare Halloween treat for genre and non-genre fans alike.


Invisible Enemies ~ This is what I get for stopping on one of the Christian broadcasting stations in the middle of the night. Actually this mini-movie with a lesson is pretty good. Like a “Twilight Zone” episode crossed with They Live with heavy evangelistic overtones poured on top, this is the tale of a young man who finds a pair of magical glasses that allow him to see demons in our world. As good as it could be to teach a lesson, and still hold your attention.

Kongo ~ This entry from 1932 is a talkie remake of the classic Tod Browning flick West of Zanzibar. It’s okay but it lacks the power of the original. Walter Huston is good, but he’s no Lon Chaney. But then again, no one is, and few approach him.