Posts Tagged ‘Alexandra Paul’

After finding myself considerably more than pleased with writer/director Scott Frank’s 2014 adaptation of modern noir master Lawrence Block’s gritty PI drama A Walk Among The Tombstones, I decided, in spite (or maybe because?) of its 0% Rotten Tomatoes score, to track down the only other cinematic take on Block’s work (and, more specifically, on his legendary protagonist, former-cop-turned-unlicensed-gumshoe Matt Scudder), 1986’s 8 Million Ways To Die. As things turned out, I had to go the Blu-ray route with this one since it’s not available for streaming anywhere so far as I can tell, but hey, things could have been worse — the Kino Lorber Blu (and,I presume, DVD, although I didn’t actually check to see if it’s available in that format) is actually a semi-recent release, dating back to October of 2017, and if I’d been determined to track this flick down before that, I may have been forced to rely on, say, the kind of seedy underworld connections that Scudder himself has to depend on from time to time.

Speaking of Scudder, this earlier celluloid incarnation is brought to life by Jeff Bridges, who’s certainly rock solid in the title role, bobbing and weaving between every sort of psychological polarity possible as he takes on what first appears to be a fairly open-and-shut case of a prostitute named Sunny (played by Alexandra Paul) who wants to get out from under the clutches of her pimp, Chance (Randy Brooks), only to suddenly find himself in the midst of  a murder investigation when she turns up dead and he ends up saddled with a self-appointed “partner” in the form of another hooker, Sarah (Rosanna Arquette), whose reasons for putting herself in the middle of such an obviously dangerous situation are as complex and elusive as everything else about this feisty potential femme fatale. All signs point to Chance being the killer right out of the gate, of course, but Scudder is soon glad for the extra help he’s got when it turns out that the actual culprit might very well be coolly sociopathic drug boss Angel Maldonado, played with understated-but-no-doubt-thick menace by Andy Garcia.

Oh, and did I mention that Scudder is barely six months sober, and that the more stressful this case gets, the better the bottle starts looking to him?

Hal Ashby may seem an interesting choice to direct an ostensible hard-boiled thriller like this, given that he’s best known for cult-favorite comedies like Harold And Maude and Being There, but he captures the seedy L.A. underworld of the early-to-mid 1980s with a considerable amount of sleek style and “street-level”authenticity that, fair enough, isn’t gonna make anybody forget about To Live And Die In L.A., much less Vice Squad, anytime too soon, but will certainly do in a pinch — and he undoubtedly gets a series of terrific performances from each and every one of his principal players. This, then, is the point at which you are more or less obligated to wonder this film died at the box office so quickly, has such a lousy reputation (as well as that 0% RT score), and was even unavailable for home viewing, apart from its initial VHS release, until about nine months ago.

My theory? It’s all down to one serious mess of a screenplay.

Oliver Stone made the first pass at it and is, the film historians tell me, the guy responsible for transposing the action from its original printed-page setting of New York to the West Coast, but when his treatment failed to make the studio happy, R. Lance Hall was brought in for another go at things — only to find his version largely re-written by an uncredited Robert Towne. Ashby, however, fundamentally dissatisfied with even this third script, encouraged his actors to simply improvise when and where it suited both them and him, and as a result, we end up with a movie that has a very consistent look and feel that’s constantly undermined by its scattershot, near-pathologically inconsistent tone. A movie that knows what it wants to appear to be, but little to no idea of what it actually is.

In his introduction to the recent, and highly faithful, graphic novel adaptation of his book by writer/artist John K. Snyder III (which retains the original title of Eight Million Ways To Die — no numeric shorthand here! — and is well worth checking out), author Block makes his disdain for this film pretty clear (even while singling out Bridges and Garcia for deserved praise), and I can certainly see why he wouldn’t care too much for it but, unlike most critics, I can’t bring myself to see it as a total loss. The acting is too strong, and the directing too assured, for that. It’s not great, mind you, and maybe not even especially good, but it’s easy enough to see that there was something that probably could have been pretty special hidden underneath all those re-writes (official and otherwise) — and that seems to be the view taken by Bridges in the full-length commentary track included on the disc, as well as in the various on-camera interviews with Arquette, Paul, Garcia, and Block himself that, along with a stills gallery, round out Kino Lorber’s fairly comprehensive extras package.

All told, then, 8 Million Ways To Die is far from the unmitigated disaster that it is, largely, remembered as — to the extent that it’s remembered at all. It’s probably of interest only to the curious, granted, but if you number yourself among that crowd, what the hell — it’s worth at least a rental, although probably no more than that.

I see you there, scratching your head. “American Nightmare?,” you’re thinking, “but I thought these ‘International Weirdness’ posts of yours were about — ya know — international flicks? Hence the title and all that?”

I understand your confusion, my friends, I really do, but rest assured — the 1983 release American Nightmare (it was filmed in ’81 but languished around for a good long while before finding a distribution deal) is, in fact, a Canadian film, shot on the dirty streets (well, as close as you’re going to find to dirty streets) of Toronto, and the film’s decidedly non-American origins are readily apparent the moment most of the actors go abewt the business of delivering their lines. As a matter of fact, some genre fans have even gone so far as to proclaim this movie to be the nearest thing to a Canadian giallo.

It sort of makes sense, really — the plot is definitely reminiscent of some of the great Italian exploitation efforts, centering as it does around a bitter heir to the throne of a media empire (Lawrence Day), whose relationship with his father is — uhhmmmm — distant, at best, as he searches for his estranged sister, who has gone missing in the drugs-and-prostitution underworld of whatever major American city this is supposed to take place in. Our erstwhile amateur sleuth is joined in his investigative efforts by his sister’s one-time roommate (Lora Staley), who also plies her trade by night at a strip club and later at night at — well, wherever her “clients” take her. There’s just one other wrinkle to add to the proceedings — there just so happens to be a knife-wielding killer on the loose hacking and stabbing his way through the city’s practitioners of the world’s oldest profession (the film even opens with a classic giallo-style hooker murder, with the unfortunate victim in question being portrayed by future Baywatch beauty Alexandra Paul). Needless to say, there’s more going on with these grisly murders than meets the eye, and the entirely unofficial investigations of our intrepid duo, as well as the official police investigations led by a young, and already awesome, Michael Ironside, lead into some very uncomfortable, and very powerful, territory.

Really, though, it’s the style and tone of this gritty — and often quite brutally nasty — little piece of business that make the giallo comparisons apt : the killings themselves don’t shy away from the blood (or misogyny); veteran Canadian composer Paul Zaza’s score is icy, clinical, and entirely memorable; director Don McBrearty gives the proceedings a very sleazy “street-level” feel while also having an artist’s eye for the grislier aspects of his script; and the heady mix of sex and violence that forms the beating heart of the whole affair is played up for all its worth and then some. Throw in a terrific cameo appearance by exploitation favorite Lenore Zann as a hooker/stripper trying to “go straight” and a hilariously, and stereotypically, pathetic cross-dresser neighbor and what’s not to love here?

This largely unknown Canuxploitation tax-shelter rarity, produced by veteran hand Paul Lynch, has recently seen the light of day on DVD under the auspices of Scorpion Releasing’s “Katarina’s Nightmare Theater” line hosted by former WWE “diva” (whatever that means, but she does a decent enough job as presenter of these flicks) Katarina Leigh Watters. Full-frame picture and mono sound are both far less than perfect but entirely passable (although you’ve gotta crank the volume way up), and extras include an interview with Lynch about his entire career as a whole and a full-length audio commentary with him and Watters that is, thankfully, a bit more specific to this film itself. A nice little package that will hardly knock your socks off but is probably more than fans of this movie ever had any realistic cause to hope for.

Definitely a product of its time, and with groaningly lame dialogue in parts, American Nightmare is nevertheless a pretty powerful, and surprisingly well-done, slice of cinematic nastiness that lingers in the memory fairly strongly after viewing. Treading the line between exploitation nastiness and “quality” arthouse-style filmmaking, it mostly manages to blend the best of both worlds together fairly successfully without giving into the excesses of either. One of the more pleasant —even if the film itself is pretty damn unpleasant — surprises I’ve popped into the DVD player in quite some time.