Stop Making Sense (1984)

 

Off-List: Stop Making Sense

Last night, my wife and I were invited by friends to watch “Stop Making Sense” at Cinemateket in Copenhagen as part of their music film festival. As it turned out, this was quite an experience and I do believe that as a 1984 movie, “Stop Making Sense” deserve some recognition and a mention on my blog.

“Stop Making Sense” is a concert film featuring the band “Talking Heads”. It was filmed over four nights at the Pantages Theatre in Los Angeles but is cut so that you get the impression it is a single concert. Quite an achievement, actually, considering that all four nights must have been exactly the same to be able to create a seamless cut.

The show starts with David Byrne entering the stage with a guitar and a ghetto blaster. All on his own with the tape as backing he does “Psycho Killer”. Slowly the stage fills up. For the second song Tina Weymouth joins him, then Chris Frantz and so on until the sixth song, “Burning Down the House”, when the entire band is complete.

The show is a tour de force of the “Talking Heads” catalogue. There are songs I recognize and songs that I do not, but it does not really matter because the energy is there in every single song. This is partly due to the enthusiasm of the band, but also driven by the Duracell-bunny that is David Byrne. His idiosyncrasies, his energy and his magic voice are all infecting and I have the impression he could read up from a children’s book and still rivet the audience.

A very big part of why this was a special experience was to watch this on the big screen in the cinema. The theatre was full, and the audience was very enthusiastic. One of our group who works in the cinema business told me that the sound system used was very clever and of very high quality, so that you felt immersed in the concert and when the audience was cheering, we felt we were in the audience too so we clapped and cheered as well. It really was the second-best thing to actually being there. You got the same rush through the audience when people recognize a song and felt the same excitement as you would at the real concert forty years ago.

That was also a wondrous experience, that this did not feel 40 years ago. Apart from a few haircuts, this concert could have been recorded yesterday. The soundscape by “Talking Heads” has aged very well, meaning that I would expect or hope for the same in a concert today. Some elements may have been avantgarde in 1984, but today it is just awesome. Even though some of the synth effects may sound retro today, that sound is often actively pursued and best of all, this is music you really want to move to. I would say that the only drawback to watching this in the cinema is the inability to dance.

As it happened, the event had a solution to that. The bar of Cinmateket was converted to a dance floor and when the movie ended, the “Talking Heads” songs continued there. I think we were at it for two hours and, man, I do not think I have danced at all for half a decade. This crowd was the most unlikely combination imaginable, with the age groups spanning six decades.  We all stood out like sore thumbs and therefore nobody stood out.

“Stop Making Sense” has been titled the best concert movie ever. That is a lot of hype, but it may actually be the case, especially if watched in a cinema with an enthusiastic crowd.

This was a unique and great experience. If you ever get the chance to watch this in a cinema, do not think twice.

    

Indiana Jones and the Temple of Doom (1984)

Off-List: Indiana Jones and the Temple of Doom

The three original Indiana Jones movies are to my mind all masterpieces and although the second instalment, “The Temple of Doom”, is often considered the poorer of the three, it is still far ahead of anything that came after “The Last Crusade”. It is a mystery why these three were not all adopted for the List.

“Indiana Jones and the Temple of Doom” (IJTD) is a prequel to “Raiders of the Lost Ark”. If you did not catch that from the date displayed (1935), it is apparent from the complete lack of Nazis. The setting is also quite different, taking place exclusively in Asia (China and India), but the most notable differences are how far it ventures into dark mystery and unbelievable stunts.

The opening is light enough. At the cabaret venue of Bar Obi-Wan (caught that?) in Shanghai, a transfer of an archaeological artifact for a diamond between Indiana Jones (Harrison Ford) and a Chinese gangster (Roy Chiao) goes haywire with shooting, dancing, poisoning and general confusion. Dr. Jones barely manages to escape with cabaret singer Willie Scott (Kate Capshaw) and child sidekick Short Round (Ke Huy Quan) in tow.

Finding themselves alone on a plane about to crash in the Himalayas, they bail out, using an inflatable boat as a parachute (!). After a completely insane decent from the mountains, they end up in India. Here the villagers believe our unlikely trio is godsent to save them from the evil flowing out from the Pankot palace. This sets off the real adventure of the movie, involving a Thuggee cult (See Gunga Din) and some very dark magic.

Some elements suffer from the classic sequel problem of “let us do the same but bigger”. The stunts are crazier where both the bailing out of the plane and the rollercoaster ride in the mines had been abandoned in “Raiders of the Lost Ark” for being too much and unbelievable. Instead of snakes, we get bugs, and instead of Nazis we get cultists. It is exhilarating, but also a tad stupid.

What we also get is a lot of the Indiana Jones vibe we love. The dry humour and the outlandish adventure and of course the gung-ho attitude. We also get a setting and a plot that is sufficiently different from the first movie to set it apart as a different movie. I used to find this darkness a detraction, but as I got older, I see it as an asset. There is something at stake here, it is not just fun and games and that adds much needed depth to the movie.

In our household, the most common talking point is the choice of lead actress. Kate Capshaw is, for lack of a better word, annoying. Her shrieking voice and her attitude is a source of pain throughout the movie, but again, as I get older, I see it actually works for the movie. I am not certain my wife has come to that conclusion yet.

Mostly “IJTD” is a fun adventure ride, made by the champions of such rides, Lucas and Spielberg. Many have tried to copy the format, but I have yet to see anybody besting it. Any of the three classic Indiana Jones movie are worth taking out any given evening or Sunday afternoon and it is a guaranteed good time. “The Temple of Doom” is my pick when I need it to be a bit darker and as such it does what it needs to do perfectly.

My favourite scene of the entire movie is the dinner scene in the palace. It takes the concept of disgusting local delicacies to an entirely different levels, and we often refer to one of these amazing dishes when we want to describe horrible outlandish food (nice, snake surprise!!!). Childish, I know, but this is a movie of my childhood.

Interestingly, both the Chinese and Indian authorities would not allow the movie to be filmed in their countries. Some people are so touchy.

 

The Karate Kid (1984)

 

The Karate Kid

One of the most iconic, most referenced and highest grossing movies to be released in 1984 was “The Karate Kid”. Even today, one of the best series on Netflix is “Cobra Kai”, a spin-off of “The Karate Kid”. “Wax on, Wax off” must rate as one of the most recognizable quotes in movie history and this movie is supposed to have done the same for the karate sport as “Sideways” did for Pinot Noir.

Why is this movie not on the List?

My wife asked the same question after we had watched the movie (again) last night and the only answer I can give is snobbery. I do not think “The Karate Kid” was ever considered high art and by including “The Terminator”, I suppose the List editors thought they had ticked that box for 1984.

Daniel LaRusso (Ralph Macchio) is a high school teenager moving to California with his mother (Randee Heller). Daniel starts his new Californian life with a few bumpy days. On the upside, he meets a pretty (and rich) girl Ali (Elisabeth Shue). On the downside, he also meets Ali’s very jealous ex-boyfriend, Johnny Lawrence (William Zabka). Unfortunately, Johnny knows karate and so does his buddies, so Daniel gets his ass kicked multiple times.

Daniel also meets the Japanese born janitor of the apartment block, Mr. Miyagi (yeah, I can see it, you are beginning to smile...) (Noriyuki “Pat” Morita). When things look the very bleakest, Miyagi steps in and probably saves Daniel from ass-kicking turning fatal. Mr. Miyagi also knows karate.

A confrontation with Johnny’s master Kreese (Martin Kove) of the Cobra Kai dojo results in a truce. Johnny must stay off Daniel until the All-Valley karate tournament, 2 months hence, at which point he can kick the shit out of Daniel. Daniel now has two months to learn karate from Mr. Miyagi himself.

While “The Karate Kid” is a martial arts film with a lot of fight scenes that (I am told) are both awesome and realistic, this really a coming-of-age story with the focus on the master and apprentice relationship between Daniel and Miyagi. This relationship is also what makes the movie special and memorable all these years later.

From the outset, Daniel is obnoxious. There is no other way to describe him. If it is the lack of a father figure, I do not know, but he takes to Miyagi as if he was his father and there is a mutual respect and sympathy between the two that is very touching. This starts before the karate training begins, but the karate makes it formal. By teaching Daniel karate, he is also forming him as a person.

It helps a lot that Miyagi is a quirky and amusing character with a lot of fantastic lines. The famous “Was on, wax off” line is not even close to his best ones. Morita’s deadpan delivery makes his lines even better. Morita could both draw on his father’s (a Japanese immigrant) mannerism and speech and his experience as a stand-up comedian and his Mr. Miyagi character is one of the classic characters in movie history, synonymous with mysterious-wise and fatherly teacher.

Robert Mark Kamen wrote the story based on his own childhood experience. His first teacher was a Kreese-type teacher, while his second was a Japanese teacher who was a follower of Chojun Miyagi of Okinawa. It sort of creates depth to the story.

As a child, I could totally identify with the characters in the movie and who has not dreamt of having a Mr. Miyagi? As an adult, I still find the movie incredibly watchable. It is not just interesting at its core, it is also very well executed on all sides and funny to boot. This may be a template story, but so well done that I can forgive the clichés.

“The Karate Kid” generated many sequels and spin-offs and for the most part they got progressively worse. Trying to tell the same story again and again is not a recipe for success. This lasted until 2018 when Macchio and Zabka came together in the “Cobra Kai” series that picks up the thread 33 years after ”The Karate Kid”. Six seasons down the line, this is still the best thing on Netflix.    

 

The Terminator (1984)

 

The Terminator

“Come with me if you wanna live”.

One night in 1984, two characters appear in Los Angeles amid burst of static electricity. One is a cyborg with superhuman strength and durability, and the other is a comparatively frail looking soldier with the objective of preventing the cyborg in it nefarious purpose. Both are from the future (2029, so it is soon) and both are very interested in a particular woman, supposedly the future mother of a future leader.

Seriously, if I must explain the plot of “The Terminator”, you probably ended up on the wrong website. Also, there really is not that much to tell. Plotwise, “The Terminator” is as thin as plots go and follow the template for action movies of the eighties down to the comma. It is not really that logical either or endowed with some secondary, deeper meaning that makes the apparent plot irrelevant. By these accounts “The Terminator” is one of many action B-movies from the eighties.

None of that, however, explains why this is such an enjoyable movie to watch.

The academic explanation would be that it is a movie that plays with the genre and through that uses the template form to get to another level, but I am not certain that explanation covers it. Rather, I think it is a combination of enthusiasm, a vision, a balance between ironic distance and taking itself serious and brilliant casting.

James Cameron is a visionary man. It is the one denominator in his impressive and quite wide-ranging filmography. His filmmaking is always driven by a visual imagination, of what the movie should look and feel like. According to Cameron lore, he got the idea for “The Terminator” in a dream in a hotel room in Rome and it was the enthusiasm for this vision that he channelled into the movie. You can feel it when you watch it, there is a deeper world of thought behind what we see. His background in visual effects is also evident.

The Terminator itself is of course Arnold Schwarzenegger, a role that became iconic for him. His superhuman appearance, mechanic acting style, lack of facial expression and heavily accented delivery IS the cyborg. Today it is impossible to imagine that a lethal battle cyborg can look like anything else than Arnie and even the later high-tech versions of death machines of the franchise are not half as compelling as he is. But more importantly, his delivery of the role gives it BOTH its menacing terror and its deadpan distance. Do I need to say “I’ll be back”?

This balance is not restricted to the cyborg but is pervading the movie. The dialogue on the police station is my own favourite element. Paul Winfield, Lance Henriksen and Earl Boen are all dead serious and funny at the same time, talking about “the weird ones” and refusing to take Kyle Reese, the soldier from the future serious. Pretty much like normally thinking people would and yet with our outside knowledge, it makes them the laughingstock.

Michael Bien and Linda Hamilton as Kyle Reese and the target girl, Sarah Connor are almost the dullest part of the movie and their role is simply to drive the thin plot forward, but they are serious enough about it that they are not hampering it. They fit the vision so to speak, acting as prügelknappe for the Austrian killing machine.

In this vision of Cameron there are so many details worth mentioning. The dystopian future (which is truly horrible) matched up with the almost exclusive use of night scenes in contemporary Los Angeles. The tech noir night club (which I always wanted to visit), the trashy, rain glinsing backstreets, reminiscent of “Bladerunner” and the freakish maintenance the cyborg performs on itself. There is a fantastic eye for details here.

I watched “The Terminator” for the umpteenth time last night with my wife and son and asked them afterwards what their impression was? How should I frame my review? Their response was that it should be overwhelmingly positive, and I think that is also how generations since its release have, sometimes grudgingly, viewed it.

On paper, this is at best an action B-movie, while in actuality this is one of the true Hollywood classics. Later instalments in the franchise may have overmatched it in effects and action, but never in vision and that is where it counts.

Amadeus (1984)

 

Amadeus

The first movie of 1984 is “Amadeus”. It was also the big winner of 1984 with eight Academy Awards, including Best Picture, Best Director and Best Actor, so 1984 starts on a high.

In 1823, Antonia Salieri (F. Murray Abraham) is a patient in a hospital. He is visited by a priest to whom he tells the tale of how he killed Mozart. Yes, Wolfgang Amadeus Mozart, the great composer. His story takes us back to Vienna in the 1770’ies.

At this time Salieri is a court composer at the court of Emperor Joseph II (Jeffrey Jones), a sovereign very much interested in music but lacking any talent for it. At this time Mozart (Tom Hulce) arrives in Vienna. He already has a reputation as a prodigy, but he is also an infantile playboy. In an age of wigs, face powder and effeminate men, it takes something to stand out as an obscene playboy.

Salieri immediately recognizes the massive talent of Mozart and is perceptive enough to realize he is himself just an amateur by comparison. Add to this the ease with which Mozart produces his art and the libertine silliness of the man, Salieri is struck by deep envy and anger with God for bestowing such gifts on an undeserving person. Salieri makes it his life mission to bring Mozart down.

Mozart and Salieri are real, historic characters, but the story presented here is entirely fiction. Mozart died young from a mysterious ailment and already in the early nineteenth century, the conspiracy theory were flourishing that Salieri and Mozart were rivals and that it was Salieri who killed Mozart. In reality they were more like colleagues, and it was Mozart who had a thing for conspiracies.

So, if this movie is not about a historic event, what is it then? My understanding is that this is a tale of envy. Of mediocracy and conformity trying to stifle the extraordinary and the beautiful. What better example of talent than the greatest composer ever and the myth of Salieri’s rivalry with him. Director Milos Forman was Czech and had a history of subversive movies challenging the communist regimes in Eastern Europe and it is not a big jump to see Salieri as the communist party supressing the arts in the East.

As a drama, “Amadeus” works, but at a very slow pace. Considering Salieri “just” has to bring Mozart down, he is awfully slow at it, this is a lengthy movie, and it is more about the grief Salieri suffers at his more or less failed attempts at discrediting and marginalizing Mozart. Mozart suffers immensely, but he does not make it easy for himself either. He is a reckless playboy, convinced of his magnificence and spending far too much for his measly income.

The real assets of “Amadeus” are the music and the sets. Oh, Lord! Almost every time there is music, it is Mozart. The volume goes up, it is full orchestra, and it is a Mozart Greatest Hits show. We hear parts of “The Marriage of Figaro”, “Don Giovani”, “The Magic Flute” and many of his famous symphonies. I am not very knowledgeable on classical music, but even a heathen like me gets blown away by this music and the arrangement of it does it full honour. This is a movie to listen to in a cinema with a good sound system.

The set is just as magnificent. The illusion of the eighteenth century is perfect, not just on the costumes and the wigs, but using Prague as location was a strike of genius. Some of the scenes were shot in the very theatre where Don Giovanni premiered originally. It has been far too long since my last visit to Prague, but I do remember that eighteenth century vibe. I also did bring home a Don Giovanni puppet on my last visit...

What works less well is the choice of using American English as the spoken language. I know this is not an unusual thing and even Ridley Scott’s recent “Napoleon” did it, but I kept expecting to hear German. This gets really bad with Mozart’s wife Constanze Mozart (Elizabeth Berridge), who otherwise delivers an excellent performance, but her accent is so thick... According to Wikipedia, Mark Hamill was considered as Mozart. That could have been fun.

This is not a bad movie at all, even if it seems to creep along at a slow pace. There is so much to look at and listen to that I do not mind. My only regret is that I never saw it in a cinema.

 

  

1984

 

1984

At this point, I am about to start on 1984. Normally, I make no introduction to a new year, but 1984 is different. To my mind 1984 is one of the great movie years. I am, of course hopelessly biased as I grew up with these movies, but even with that in mind, the List is exceptionally stingy for this year. When I look down on lists of what was released in 1984, I am amazed the editors found room for so few movies.

Of course, the list of movies I like is a product of my personal taste and looking down the release list, many of them do not qualify as great, but they mean something to me and where I would normally add three off-List moves to review, here I feel I could add ten movies and not be done with it.

I already picked my three movies to add, but do not be surprised if a few more sneak themselves onto my block. For now, I will make a quick run-down on movies that did not make the cut for the List, but which I think deserve at least a mentioning.

In addition, there are a similarly long list of movies I am not familiar with but that I very much would like to watch. Most of those have slightly more adult zing than those on the list below.

 

Indiana Jones and the Temple of Doom

Seriously? Even if this is the poorest of the three great Indiana Jones movies, it is a no-brainer. I picked this as off-List without blinking.

Karate Kid

Maybe not film art but a pop-culture landmark. Who does not know “wax-on, wax-off” and Mr. Miyagi? Also, “Cobra Kai” is one of the best current series on Netflix. This I also picked as off-List for 1984.

Gremlins

Why is this movie not on the list? This is better and more important than at least half the movies on the List. The only explanation is that the editors do not like comedies and blockbusters. This is both. Of course, I added this one.

Romancing the Stone

While this is “Indiana Jones light”, it is also immensely entertaining and one of those movies I have watched so many times.

Police Academy

Yeah, I know, not film art, but this, the first instalment was immensely funny when it came out. I have rewatched it a few times since and while it has not aged too well, I still have a good time watching this.

The NeverEnding Story

This was a monster hit in 1984, at least in Denmark. Everybody was singing the Limahl theme song, and I even went on to read the book. Personally, I found both book and film a bit disappointing, but I was in the minority at the time.

Footloose

Well, Kevin Bacon dancing...

Revenge of the Nerds

Again, not exactly high brow, but every time I think of the Nerds movies, I fell like revisiting them. This one is the mother of the Nerds movies, and the jokes are not as stupid as they later became.

Splash

A guilty pleasure. Not a great movie, but with Daryl Hannah and Tom Hanks. That alone makes it worth watching.

Red Dawn

Decidedly a B-movie, but the list of young actors that would later become big names is amazing.

Starman

With Jeff Bridges as the alien, this is a decent romantic sci-fi.

The Last Starfighter

I only watched this one in recent years and have not the sweet memories of childhood. Still not a bad sci-fi.

Blood Simple

The first feature from the Coen brothers. Say no more.

Purple Rain

Prince!!!

All of Me

Steve Martin is not my favourite comedian, but this one is one of those I like the best.

Dune

David Lynch version of Dune took a lot of heat, but I quite like it. If anything, it is not Lynch enough.

Bachelor Party

One of Tom Hanks’ earliest movie. This movie it totally nuts.

Canonball Run II

Okay, not a good movie, but it was the very first movie I went to see without parents. I thought it was great. I was 11 years old, so that kind of figures.

 

The Ballad of Narayama (Narayama-Bushi Ko) (1983)

 

The Ballad of Narayama

When “The Ballad of Narayama” (“Narayama Bushiko”) came up, I invited my wife and son to join me watching a Japanese anime movie. I was however doubly misled. The cover was cartoonish and the movie I had found was the 1958 version of the story. When I finally found the 1983 version, it was not anime and most certainly not cozy family fare. “The Ballad of Narayama” is a very brutal movie and I am glad my son did not get to watch it.

We are in a small village in a mountainous region of Japan sometime in the nineteenth century. Life here is hard and always a hairbreadth away from disaster. Orin (Sumiko Sakamoto) is the matriarch of one of the families and we follow her through most of a year while she is trying to prepare for ubasute. In this village (and likely the region) the belief is that when people turn 70, they must journey to the top of a holy mountain and there be left to die. Orin seems to long for this to happen despite her good health, so much that she knocks out some of her teeth to convince her son that she needs to go to the mountain.

 Her preparations include finding a husband for one of her son and a woman for her other son to lose his virginity to. She must train her daughter in law all her household tricks, such as how to catch trout and she must ensure the family have enough food to survive the next year.

These preparations are secondary though to the general portrait of life in the village, and this is a portrait that does not pull any punches. Excess children are killed so not to feed them, we see a baby emerge in the stream as the snow melts. An entire family, children and pregnant woman included are culled by being buried alive on the pretext that they stole food, but really to make the harvest last a full year. Women can be sold and are therefore valuable and sex seems to be the only marginally pleasant pastime of these people, which is therefore eagerly practiced. It is a life very close to nature, at the mercy of nature, really, but a life that also strips people of their humanity.

In this light, the ubasute of Orin is not just a religious practice, but both a relief from the pains of life and a means to avoid being an unproductive burden on the village. These two items are of course combined as it is an embarrassment and a pain to know you are a useless extra mouth to feed. Some of the old people refuse to go to the mountain and it is clear that they live in shame and suffers the scorn of the rest of the village.

It is a hard and merciless movie. The brutality brings the points home very effectively, but it also makes it a very uncomfortable movie to watch. The culling of the family was extremely shocking, and I had to take a break from the movie at that point. Thankfully I was watching the movie alone. The production value is very high, and the convincing realism simply adds to the brutality.

It is only a month since I was in Japan for my summer vacation and part of it, I actually spent in the very mountains around Nagano where this was filmed. The thing that stroke me, especially out there in the mountains, was how few young people there were. Japan has become a country of old people with fewer and fewer people to support the older generation. I have no idea if ubasute in any form is still practiced, but I did get a very clear impression that the old generation does not want to be a burden, that they continue to work, practically till they drop. Plus eighty-year-olds driving taxi and carrying around your luggage. Very senior train station staff. Great-grandparent baristas in coffeeshops treating the customers as if their grandchildren are visiting. They are wonderful, these old people, but I sense the sadness of the brutal reality that makes it necessary that they must continue. On the other hand, it may well be the very fact that they are still working that makes them youthful enough to do it.

In this strange and somewhat twisted way, “The Ballad of Narayama” feels relevant today. With not enough resource, there is no room for unproductive mouths.

“The Ballad of Narayama” won the Palme D’Or in 1983 and I can see why. This is very much a Cannes movie. I know I should recommend it, but I do not feel like watching it again.