RIDE IN THE WHIRLWIND (1966) BLU-RAY CRITERION

RIDE IN THE WHIRLWIND (1966) posterRIDE IN THE WHIRLWIND (1966) German movie poster

Monte Hellman’s‘s two 1966 Westerns, The Shooting and Ride In The Whirlwind, have finally received due recognition in a Criterion edition. For years, Hellman’s “existentialist” Westerns (as they are often termed) have languished in execrable transfers on Z-grade DVD labels. Even these have usually been out of print, and only available at mortgage payment-level prices.

RIDE IN THE WHIRLWIND criterion

Both were produced by Roger Corman(uncredited), Jack Nicholson, and Hellman, with Hellman directing both simultaneously. The Shooting was written by Carole Eastman, Ride In The Whirlwind by Nicholson. The writing proves to make the difference; Nicholson lacks Eastman’s sense of pacing and aptitude for coherent nonsense. Still, each film is sharply focused and securely grounded amongfilms for the bourgeoisie to walk out on (a quick glance at the deluge of prosaic comments from banal IMDB users serves as a verification of Hellman’s provocative reputation).

RIDE IN THE WHIRLWIND (1966) advertisement

Ride In The Whirlwind opens as a traditional Western, with a stagecoach robbery. Tradition soon gets thrown out with yesterday’s bathwater. The robbery goes askew, as do concepts of righteousness, virtue, honor, and frontier justice. The ensuing shootout between rival gangs lays waste to our inherent ideologies of heroes and villains.

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25TH ANNIVERSARY: TIM BURTON’S BATMAN (1989)

BATMAN (1989) lobby card. Michael Keaton, Kim Basinger

A quarter century after its debut, Tim Burton‘s Batman (1989) is still among the brightest of the comic book genre films; an odd thing, given how dark it is. However, Burton’s Batman has a glamorous darkness. Burton was young, energetic, and at the top of his game in 1989. His interpretation of the caped crusader remains groundbreaking and is more astute than Christopher Nolan‘s The Dark Knight (2008). Nolan went the mile to distance the avenger from his comic book origins. Burton embraces the source material.

BATMAN (1989) lobby card. Michael Keaton

Upon Batman‘s monstrously hyped release, many critics lamented the dominant personality of Jack Nicholson‘s Joker as compared to the title character. In hindsight, Nicholson’s killer clown seems less innovative than Heath Ledger’s radically different interpretation. Today, it is easier to recognize Michael Keaton’s Bruce Wayne as the eye of Tim Burton’s hurricane: he inhabits the quintessential capitalist fantasy. In a case of shrewd casting, Keaton’s Batman has no extraterrestrial powers, nor does he even look like he has spent his life in the gym. Rather, Wayne is fabulously wealthy and it is all those “wonderful toys,” bought by all that wonderful money, that makes him an all-American noir Superman, free to wreck vengeance upon a fascistic Gotham’s lower criminal element. Like Humphrey Bogart and Gary Cooper before him, Keaton went through the script, pruning his dialogue down to the bare essentials, making this an internalized performance.

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THE SHOOTING (1967): AMERICAN-STYLED DISSONANCE

%22The Shooting,%22 (1967 dir. Monte Hellman)

Several years ago European avant-garde composer Pierre Boulez dismissed the cranky, experimental music of American composer Charles “take your dissonance like a man” Ives as “having come from an insurance salesman.” By contrast, Boulez’ own music is tinkly Euro-avant, a musical tradition that was given freedom towards academic experimentation by old money. Not a single Boulez work can get under the skin like Ives’ “Gong on the hook and ladder” or “Symphony 4.”

THE SHOOTING (1967) Millie Perkins

American horror has long had a fitful relationship with the American avant-garde; it has also been more genuinely disturbing than anything Europe has produced. Kentucky born Tod Browning produced jagged, feverish dreams while Brit James Whale produced well-crafted, sophisticated, and witty fairy tales. There is something far more unsettling in Lon Chaney painfully looping fishing wire around his eyeballs, or Lon Jr. “accidentally” strangling an extra, than there is in Boris Karloff’s passion for cricket. An avant-garde filmmaker even approached the infamous naive surrealist Ed Wood, hoping for a collaboration, but by then Wood was too drained and too ravaged by rejection to respond.

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ROGER CORMAN’S THE TERROR (1963)

THE TERROR MEXICAN LOBBY CARD

Roger Corman’s The Terror has been in public domain for half of forever. The result, predictably, has been a plethora of DVD prints, ranging from wretched to execrable. It is a legendary film that has its equal share of fans and detractors. The Terror marks the only time Boris Karloff actually “starred” in a film directed by Corman (The Raven-1963, does not really count, as Karloff was secondary to Vincent Price). How much of the movie Corman directed is debatable. Francis Ford Coppola, Monte Hellman, Jack Hill, Jack Nicholson, and Dick Miller are all reported to have directed parts of The Terror, although only Corman is credited.

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25TH ANNIVERSARY : TIM BURTON’S BATMAN

Batman 1989 poster

A quarter century after its debut, Tim Burton‘s Batman (1989) is still among the brightest of the comic book genre films; an odd thing, given how dark it is. However, Burton’s Batman has a glamorous darkness. Burton was young, energetic, and at the top of his game in 1989. His interpretation of the caped crusader remains groundbreaking and is more astute than Christopher Nolan‘s The Dark Knight (2008). Nolan went the mile to distance the avenger from his comic book origins. Burton embraces the source material.

Batman (Keaton 1989)

Upon Batman‘s monstrously hyped release, many critics lamented the dominant personality of Jack Nicholson‘s Joker as compared to the title character. In hindsight, Nicholson’s killer clown seems less innovative than Heath Ledger’s radically different interpretation. Today, it is easier to recognize Michael Keaton’s Bruce Wayne as the eye of Tim Burton’s hurricane: he inhabits the quintessential capitalist fantasy. In a case of shrewd casting, Keaton’s Batman has no extraterrestrial powers, nor does he even look like he has spent his life in the gym. Rather, Wayne is fabulously wealthy and it is all those “wonderful toys,” bought by all that wonderful money, that makes him an all-American noir Superman, free to wreck vengeance upon a fascistic Gotham’s lower criminal element. Like Humphrey Bogart and Gary Cooper before him, Keaton went through the script, pruning his dialogue down to the bare essentials, making this an internalized performance. Continue reading