Category Archives: Cult Movies

The Greatest 1980s Movie Quotes

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Whilst 1980s cinema was seemingly dominated by action heroes and comic actors (Bill Murray, Chevy Chase, Eddie Murphy, Steve Martin et al) who generally tended to transform projects by dint of their improvisatory skills, there were enough gifted writers around (Woody Allen, Oliver Stone, Bruce Robinson, John Carpenter, John Hughes, the Coen brothers etc.) to generate memorable, crafted lines too.

And the proliferation of comedies, horror movies and smart teen movies made for good zingers. But what makes a memorable movie quote? We present for your dubious pleasure a selection of 1980s lines and mini soliloquies that seem to hold up; some have become part of modern culture, some always provide a laugh or chill however many times one has seen the films, some are just plain weird and wonderful, and a few were probably improvised.

‘Heineken? F*ck that sh*t! Pabst Blue Ribbon!’ Blue Velvet (1986)

‘Let’s f*ck! I’ll f*ck anything that moves!’ Blue Velvet

‘Why are there people like Frank? Why is there so much trouble in this world?’ Blue Velvet

‘Better to be king for a night than schmuck for a lifetime.’ The King Of Comedy (1982)

‘I bet you’re the kind of guy that would f*ck a person in the ass and not even have the goddamn common courtesy to give him a reach-around.’ Full Metal Jacket (1987)

‘I have come here to chew bubblegum and kick ass, and I’m all out of bubblegum.’ They Live (1988)

‘Can I get ya anything? Coffee? Tea? Me?’ Working Girl (1988)

‘I have a head for business and a bod for sin.’ Working Girl

‘I am serious, and don’t call me Shirley.’ Airplane (1980)

‘What a pisser.’ Airplane (1980)

‘Into the mud, scum queen!’ The Man With Two Brains (1983)

‘You touch me, he dies. If you’re not in the air in thirty seconds, he dies. You come back in, he dies.’ Escape From New York (1981)

‘Beware the moon, lads.’ American Werewolf In London (1981)

‘We’re living in a shop. The world is one magnificent f*cking shop. And if it hasn’t got a price tag, it isn’t worth having.’ How To Get Ahead In Advertising (1989)

‘I tried to stand up and fly straight, but it wasn’t easy with that sumbitch Reagan in the White House. I dunno. They say he’s a decent man, so maybe his advisors are confused.’ Raising Arizona (1987)

‘Be the ball.’ Caddyshack (1980)

‘I’m a veg, Danny…’ Caddyshack

‘This is a cross of Kentucky Bluegrass, Featherbed Bent and Northern California Sensemilia. The amazing stuff about this is, you can play 36 holes on it in the afternoon, take it home and just get stoned to the bejeezus-belt that night.’ Caddyshack

‘The last time I was inside a woman was when I visited the Statue Of Liberty.’ Crimes And Misdemeanours (1989)

‘Showbusiness is not so much dog-eat-dog, it’s more dog doesn’t return dog’s calls.’ Crimes And Misdemeanours

‘For all my education, accomplishments, and so-called wisdom, I can’t fathom my own heart.’ Hannah And Her Sisters (1986)

‘If you build it, he will come.’ Field Of Dreams (1989)

‘It’s the best joke of all – a joke on the children…’ Halloween III (1983)

‘Get out…now!’ Halloween II (1981)

‘Listen, lady. If you don’t give Big Ed some air, he’s gonna piss…all over your half of my body.’ All Of Me (1983)

‘You can start by wiping that f*cking dumb-ass smile off your rosy f*cking cheeks. Then you can give me a f*cking automobile. A f*cking Datsun. A f*cking Toyota. A f*cking Mustang. A f*cking Buick! Four f*cking wheels and a seat.’ Planes Trains And Automobiles (1987)

‘I mean to have you even if it must be burglary.’ Withnail & I (1987)

‘My thumbs have gone weird.’ Withnail & I

‘We want the finest wines available to humanity, we want them here and we want them now!’ Withnail & I (1987)

‘Monty, you terrible c**t!’ Withnail & I

‘Flash, I love you, but we only have 14 hours to save the Earth!’ Flash Gordon (1980)

‘Get ready for greatness.’ Say Anything (1989)

‘She’s a brain trapped in the body of a game-show hostess.’ Say Anything

‘I’m incarcerated, Lloyd!’ Say Anything

‘I gave her my heart. She gave me a pen.’ Say Anything

‘Can I borrow your towel for a sec? My car just hit a water buffalo.’ Fletch (1985)

‘When you grow up, your heart dies.’ The Breakfast Club (1985)

‘I wanna be just like you. I figure all I need’s a lobotomy and some tights.’ The Breakfast Club

‘You’re a parent’s wet dream – neo-maxi-zoom-dweebie…’ The Breakfast Club

‘May I admire you again later today?’ Pretty In Pink (1986)

‘She thinks you’re sh*t, and deep down you know she’s right.’ Pretty In Pink

‘This is an incredibly romantic moment and you’re ruining it for me.’ Pretty In Pink

‘I did not achieve this position in life by having some snot-nosed punk leave my cheese out in the wind.’ Ferris Bueller’s Day Off (1986)

‘I’m obsessed, thank you very much.’ St Elmo’s Fire (1985)

‘No Springsteen is leaving this house!’ St Elmo’s Fire

‘How much more black can it be? The answer is…none.’ This Is Spinal Tap (1984)

‘What’s wrong with being sexy?’ This Is Spinal Tap

‘Hope you like our new direction.’ This Is Spinal Tap

‘I’m not gonna be ignored, Dan.’ Fatal Attraction (1987)

‘I love my dead gay son.’ Heathers (1989)

‘Be afraid. Be very afraid.’ The Fly (1986)

‘I’ll have what she’s having.’ When Harry Met Sally (1989)

‘It’s a good scream…’ Blow Out (1981)

‘Where we’re going, we don’t need roads…’ Back To The Future (1985)

‘Seize the day. Make your lives extraordinary.’ Dead Poets Society (1989)

‘They’re here.’ Poltergeist (1982)

‘Listen, and understand! That Terminator is out there! It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop… ever! Until you are dead!’ The Terminator (1984)

‘Gentlemen! Let’s broaden our minds. Lawrence?’ Batman (1989)

‘I’m of a mind to make some mookie.’ Batman

‘I…corrected them, sir.’ The Shining (1980)

‘Little pigs! Little pigs! Let me come in!’ The Shining

‘Why don’t we just… wait here for a little while. See what happens.’ The Thing (1981)

‘There’s no fog bank out there… There’s no fog bank out there… Hey, there’s a fog bank out there.’ The Fog (1980)

‘Get inside and lock your doors. Close your windows. There’s something in the fog!’ The Fog

‘Say goodnight to the bad guy…’ Scarface (1983)

The Cult Movie Club: The Border (1982)

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Summer 1980. Jack Nicholson was in the middle of his busiest period. ‘The Shining’ had just wrapped and he had inked contracts to appear in both ‘Reds’ and ‘The Postman Always Rings Twice’.

But first up was ‘The Border’, one of his least known films but a fascinating watch these days and still relevant. It’s also one of his most serious, intense screen performances, rivalling ‘Five Easy Pieces’, ‘The Pledge’ and ‘The Passenger’.

Nicholson plays a downtrodden Texas border patrolman who, after years of viewing corruption and trapped in an unhappy marriage, decides to do something completely altruistic. When the baby of an underage Mexican girl is kidnapped with threats of being sold/adopted, Jack takes a stand against his spiritually-bankrupt superiors.

It’s possible that Nicholson was attracted to the project due to the involvement of director Tony Richardson, the Brit who helmed John Osborne’s legendary ‘Look Back In Anger’ on both stage and screen, and also the presence of co-stars Warren Oates and Harvey Keitel, with whom Jack does some great sparring.

Shot in El Paso, ‘The Border’ is a terse, angsty, mature movie with moments of dark humour and an interesting companion piece to both John Sayles’ ‘Lone Star’ and Tony Garnett’s ‘Handgun’.

But its third act moves uneasily into action territory – Richardson seems out of his depth here, searching in vain for his inner Peckinpah (and why the 18 certificate? My DVD warns of ‘strong sex, violence and language’, but none of the above feature, outside of one particularly poorly staged gore effect).

Still, apparently it was an interesting shoot, with a blitzed Dennis Hopper arriving to set up a huge prank for Jack involving the president of Mexico, a cadre of cheerleaders and some Hells Angels (see Robert Sellers’ book below for more). Sadly though, Ry Cooder’s soundtrack is rather phoned-in, despite featuring an early version of the classic ‘Across The Borderline’.

‘The Border’ was delayed for a year and crept out in February 1982 to minimal fanfare (though Siskel and Ebert both liked it) and rotten box office. In truth, it feels much more like a movie of the 1970s than the 1980s. But it features yet another gripping performance from Jack during arguably his peak period and it’s well worth a look – if you can find it…

Further reading: ‘Hollywood Hellraisers (Bad Boy Drive)’ by Robert Sellers

The Cult Movie Club: Fletch @ 40

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Quentin Tarantino recently drew an interesting comparison between the 1980s careers of Chevy Chase and Bill Murray.

Both had reputations for being difficult but it was Murray who sought ‘positive’/’learning’ scripts through the decade and early 1990s. Chase didn’t: his characters generally started out as wise-cracking assholes, and ended the films the same way.

And the always amusing ‘Fletch’ – a movingtheriver favourite which premiered 40 years ago this weekend – is exhibit A. Based on the 1974 novel by Gregory McDonald (who subsequently wrote ten other Fletch books), it came into existence when Michael Douglas got on board as producer (later to be replaced by his brother Peter) and Universal finally took it on after many false starts.

McDonald had star approval though, and Burt Reynolds, Mick Jagger, Richard Dreyfuss and Jeff Bridges nearly played Irwin R Fletcher, before Chevy got the nod. After a few lean years, he was hot in 1984 after the success of ‘National Lampoon’s Vacation’. In the meantime Andrew ‘Blazing Saddles’ Bergman had written a screenplay with uncredited help from Phil ‘All Of Me’ Alden Robinson too.

Director Michael Ritchie must take a lot of credit for the success of ‘Fletch’. Helmer of bittersweet classics ‘Smile’, ‘The Candidate’, ‘Downhill Racer’ and ‘Prime Cut’ (and, after ‘Fletch’, ‘The Golden Child’ and ‘Cool Runnings’), he keeps things moving fast and reportedly encouraged Chase’s surreal ad-libs. ‘Nugent. Ted Nugent’, was the first, apparently uttered totally spontaneously by Chevy.

His stoned delivery and anti-establishment wisecracks hit the spot time and time again. This writer always giggles when someone shoots out Fletch’s back windscreen and Chevy shouts ‘Thanks a lot!’, ditto the entire ‘airplane investigation’ scene. Chase is always one step ahead of the material, sharing a joke with the audience, assuming it’s intelligent and on his side.

But watching it again, ‘Fletch’ certainly seems more suitable for adults than teenagers (borne out by the fact that when I first saw it at the Putney Odeon during school summer holidays in 1985, the teens around me mainly threw popcorn and talked amongst themselves). The plot is hard to follow and the stakes never seem very high, despite the film’s noir leanings (one key character is named Stanwyk).

The film benefits from some excellent supporting turns – female co-star Dana Wheeler-Nicholson is delightfully natural (though weirdly didn’t make another movie for five years after ‘Fletch’) and Joe Don Baker, M Emmet Walsh, Geena Davis, Richard Libertini and George Wendt (RIP) do solid, enjoyable work.

Harold Faltermeyer’s memorable synth soundtrack still raises a smile. And though ‘Fletch’ would seem to be influenced by ‘Beverly Hills Cop’, it was actually shot around the same time as that Eddie Murphy vehicle, summer 1984, in and around Los Angeles during the Olympics.

‘Fletch’ was a surprisingly big hit, grossing around $60 million against an $8 million budget. Roger Ebert and Pauline Kael quite liked it, Gene Siskel loved it. Kevin ‘Clerks’ Smith tried and failed to reinvigorate the Fletch brand in the 1990s. But Jon Hamm has just played him in 2022’s ‘Confess, Fletch’ – any good? Doubt it… Peak Chevy is a hard act to follow.

The Cult Movie Club: The Osterman Weekend (1983)

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‘Straw Dogs’, ‘Bring Me The Head Of Alfredo Garcia’, ‘The Wild Bunch’, ‘Pat Garrett & Billy The Kid’, ‘Cross Of Iron’… One doesn’t forget Sam Peckinpah’s films in a hurry.

By the early 1980s, his career had hit rock-bottom, despite a random hit with ‘Convoy’ in 1978. But he was still hungry to work, though deemed unreliable and dangerous by the powers that be.

Salvation came in the form of his one-time mentor Don Siegel, with whom Peckinpah had worked on a few movies including ‘Invasion Of The Body Snatchers’. Siegel had a tricky action sequence to shoot for his Bette Midler vehicle ‘Jinxed’ – he persuaded Peckinpah to storyboard and direct the sequence, and Sam ended up sticking around for 12 days, impressing everybody with his ideas and – frankly – sobriety.

Suddenly Peckinpah was back in the game. He was quickly offered a Robert Ludlum espionage thriller ‘The Osterman Weekend’, adapted by ‘Night Moves’/’Ulzana’s Raid’ writer Alan Sharp, concerning a TV personality who becomes convinced that his best friends are Soviet agents.

The producers insisted Sam be on his best behaviour and he was also given other directives: no drastic re-writing, no casting approval (he wanted James Coburn but got Rutger Hauer) and no final cut.

But he did get his choice of DP – John ‘Straw Dogs’ Coquillon. The budget was $7 million. Peckinpah finished in January 1983 on time and on budget. The movie just about made back its costs (not helped by an appalling trailer, so instead let’s see Mark Cousins’ ‘Moviedrome’ introduction, as below) and became a hit in the burgeoning video market.

‘The Osterman Weekend’ got a critical mauling and is yet to receive a posh official restoration. But watching it now, it turns out to be yet another fascinating, unpredictable and weirdly gripping Peckinpah movie.

He throws down the gauntlet with a seriously unpleasant opening scene which gives new meaning to coitus interruptus (apparently excised from the original theatrical cut). The sets are fairly drab. John Hurt seems miscast despite a nice Pinteresque switcheroo late in the piece and most of the female characters are ‘problematic’ (with one notable exception).

But Peckinpah puts together two or three superb action sequences including a thrilling chase through the outskirts of LA. Hauer shows unexpected depth alongside the usual impressive athleticism and Craig T Nelson – best known for his role in ‘Poltergeist’ – is excellent, as are Meg Foster, a clearly ill Dennis Hopper and Chris Sarandon. It sounds like Lalo Schifrin gathered the cream of the LA session scene for his nice if strange Yacht Rock soundtrack.

It also seems that Peckinpah got in a naughty rewrite after all and was incapable of just phoning in an assignment – the film is deeply personal, about betrayal, surveillance and the disintegration of relationships in Reagan’s America. And it’s also about protecting the family unit – yes, it’s Peckinpah’s take on Steven Spielberg…

‘The Osterman Weekend’ became his final film – he died in December 1984 at just 59. His last professional act was to direct two videos for Julian Lennon, of all people: ‘Valotte’ and ‘Too Late For Goodbyes’. But ’Osterman’ is well worth a look, if you’ve got a strong stomach and a love of weird, unpredictable movies.

Further reading: If They Move, Kill ‘Em by David Weddle

The Breakfast Club @ 40: 17 Things You Didn’t Know About The Classic Teen Movie

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Despite a few bum notes, ‘The Breakfast Club’ – which premiered 40 years ago this month – remains one of the essential 1980s movies, a must-see for generation after generation of teenagers.

Like or loathe it (some contemporary critics such as Pauline Kael lamented its whinier aspects, while others such as Roger Ebert were surprisingly sympathetic), its superb cast act as if their lives depended on it, and writer/director John Hughes’s attention to detail and comic timing are as spot-on today as they must have seemed in 1985.

But what was going on behind the scenes? Where was the film shot? Which famous actors nearly got cast? Which actors didn’t get along? Movingtheriver has done some digging (with spoilers)…

17. The film was edited by Hollywood royalty Dede Allen, who had worked on ‘The Hustler’, ‘Bonnie & Clyde’, ‘Serpico’, ‘Dog Day Afternoon’ and ‘Reds’ (apparently she was put to work on John Hughes’ original three-hour cut…).

16. Theme song ‘Don’t You Forget About Me’ was written by Keith Forsey after witnessing the scene where Brian (Anthony Michael Hall) asks his fellow detention attendees if they’ll still be friends the next day. Simple Minds turned it into a US #1 but Bryan Ferry was Forsey and Hughes’ first choice – he turned it down, busy mixing Boys & Girls.

15. Hughes wrote the first draft of the film over one weekend.

14. Universal weren’t behind the film, wanting more teenage hi-jinks and nudity a la ‘Porky’s’. They weren’t even sure Hughes should direct.

13. Anthony Michael Hall and Molly Ringwald were just 16 years old during filming – all the other ‘schoolkids’ were well into their 20s.

12. Jodie Foster, Laura Dern and Robin Wright all auditioned for the part of Claire, the prom queen. Molly Ringwald got the role despite initially being cast as Alison, the misfit. Emilio Estevez was initially cast as the ‘bully’ John Bender until Judd Nelson came in at the last minute (Nicolas Cage, John Cusack and Jim Carrey all almost played Bender too). Rick Moranis was due to play Carl the janitor but left the film just before shooting.

11. It was shot between March-May 1984 at Maine North High School in Des Plaines, Illinois, the same abandoned school used for ‘Ferris Bueller’s Day Off’. Most of the film takes place in a library – this was actually a set built in the school gymnasium.

10. The cast rehearsed for three weeks before the cameras rolled. They were running lines and bonding even as sets were being built around them. The film was also shot in sequence, a rarity.

9. Researching his role as Bender, Judd Nelson went ‘undercover’ at a nearby high school with fake ID and formed a real clique of naughty teens.

8. The cast didn’t smoke real pot in the famous ‘truth-telling’ scene – it was oregano.

7. Anthony Michael Hall’s real life mother and sister talk to him in the car at the beginning (and Hughes has a cameo as his dad).

6. Ringwald tried to get Hughes to remove the scene where Bender hides under the desk and looks between her legs, but he refused.

5. Bender’s famous, defiant/celebratory fist-raise at the end was improvised by Judd Nelson.

4. The scene where the characters sit around and explain why they are in detention was all improvised.

3. The original cut was 150 minutes long – they had to lose 53 minutes, including a long dream sequence and a whole character (a sexy gym teacher). Some deleted scenes have appeared on DVDs and on YouTube but many outtakes have never been seen.

2. The iconic poster photo was taken by Annie Leibovitz and later satirised by ‘Texas Chainsaw Massacre 2’.

1. The budget was just under $1 million! The film made over $51 million during its initial run…

The Cult Movie Club: The Long Good Friday (1980)

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Every post-1971 British crime movie has had ‘Get Carter’ and ‘Performance’ in its rearview mirror.

Made in summer 1979 but not released until 18 months later, ‘The Long Good Friday’ (original title: ‘The Paddy Factor’) has often been mentioned in the same breath as ‘Carter’. Is that justified?

Initially bankrolled by legendary impresario and producer Lew Grade, it was written by proper East Ender Barrie Keeffe (who reportedly knew Ronnie Kray), directed by Scotsman John Mackenzie and starred Brit acting ‘royalty’ Bob Hoskins and Helen Mirren.

When completed, the suits almost refused it a cinema run, deeming it too nasty, hoping to recut it and farm it out to television. A disgusted Mirren asked her friend Eric Idle to attend the premiere at the London Film Festival towards the end of 1980.

Idle was impressed and passed it on to his mate George Harrison, the main moneyman at newly-formed HandMade films. Harrison apparently loathed it but agreed it had hit potential. HandMade bought it for £700,000, funded by ‘Life Of Brian’ profits.

But how does ‘The Long Good Friday’ stack up in 2024? I watched the posh new 4K restoration – looks fabulous, but this film really belongs in a mid-’80s Cannon fleapit. With its casual racism/sexism/ableism and overlong dialogue scenes, it’s also now more redolent of ‘Sweeney!’, ‘The Squeeze’ and ‘Villiain’ than ‘Performance’ or ‘Get Carter’ – but is still fascinating and memorable.

There’s some real Brit nastiness, or ‘virtuoso viciousness’, as Pauline Kael called it in her ‘Carter’ review. Mackenzie comes up with three or four memorable set pieces (and a great final five minutes, apparently the first thing they shot, during which apparently the director drove the car and ‘fed’ Hoskins the entire plot of the film) which have given the movie legs. He also uses the London locations with some elan.

Keeffe comes up with some preposterously funny lines – ‘It’s like Belfast on a bad day!’ etc. – and Francis ‘Sky’ Monkman’s disco/prog/fusion score adds value. There’s also an amazing array of ‘Hey, it’s that guy/girl!’ actors, from Pierce Brosnan (whose swimming pool scene seems to have influenced Bronksi Beat’s ‘Smalltown Boy’ vid) to Gillian Taylforth.

Sadly though the key performance by Derek Thompson (Charlie in ‘Casualty’!) weighs the film down with its stoned insouciance and dodgy London accent (ironically, Thompson was born in Belfast).

And though some have compared Hoskins with Edward G Robinson and James Cagney (Keeffe apparently pictured a cockney Humphrey Bogart!), despite some amusing line readings these days he comes across more like Alan Sugar after a few too many espressos, whereas Michael Caine in ‘Carter’ had a kind of timeless, glacial rage.

Apparently under the influence of ‘Lock, Stock and Two Smoking Barrels’, Empire magazine – astonishingly – voted ‘The Long Good Friday’ the #1 greatest British film in a 2000 poll. Hard to think it would get that accolade today. Still, it’s a fascinating snapshot of London on the brink of Thatcher’s decade, and a must-see for fans of 1980s cinema.

Further reading: ‘Very Naughty Boys’ by Robert Sellers

The Cult Movie Club: The Shining and Shelley Duvall

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It was fascinating watching the long American cut of ‘The Shining’ recently with a packed, young crowd at the BFI Southbank.

They clapped and cheered at the end, and many flinched and jumped out of their seats during Jack’s manic outbursts. It was also fascinating to re-evaluate Shelley Duvall’s performance after her sad recent death (and re-watching her superbly odd turn in Robert Altman’s ‘3 Women’ in the same venue recently).

But, despite the doc ‘Room 237’ and terrific work by Rob Ager (most of it on his Collative Learning YT channel), what surprised me was how many aspects of the film still mystified and enthralled after numerous viewings. Here are some of my jottings (with spoilers):

The Gold Room
It’s not in Stephen King’s book. Ager has investigated the possible motivations for Kubrick including it. But unless I’m very mistaken Ager doesn’t discuss the strange photos on the sign by the entrance. What are they? The look suspiciously like late-1970s singer-songwriters rather than crooners of a 1920s vintage…

The lighting
There’s weird lighting everywhere. Lamps, blazing sun through windows, fluorescent beams. Lucifer – bringer of light?

Madness, misogyny and suggestions of child sexual abuse
The idea that a father could have malicious thoughts about his wife and son is terrifying and probably hits home to most general viewers. Plus Jack’s pure rage aimed at his wife. But possibly the film goes very much further than that – Ager’s excellent video explores even more troubling aspects. As for the misogyny, the Sunday Times recently reported that Duvall was shown the baseball bat scene during a 2016 interview, and broke down in tears, saying: ‘I can only imagine how many women go through this kind of thing.’

The shape in the river of blood
What the hell is it? A body? An octopus?

The sound design
It’s NOT perfect. During Danny’s pedal-car rides on the rugs/floors, the sound still doesn’t seem correctly sync’d…

People walking backwards
Once you first notice it, it’s quite funny clocking how many characters walk backwards during the movie…

Danny and ‘Tony’
Did Kubrick watch the 1977 BBC documentary about the Enfield Poltergeist?

Shelley Duvall
Hers is a thankless role in a way and you can be sure it was cut to shreds in the edit. She told Roger Ebert that her experience on the film was ‘unbearable’ and claimed that she had to cry for 12 hours a day for nine months straight to get what Stanley was after. But it was worth it. Watch the scene where she brings Jack lunch at his typewriter and finally realises what she’s up against. Apparently a sweetheart too if this interview is anything to go by.

Influences of ‘The Amityville Horror’ and ‘The Exorcist’?
In ‘Amityville’, a family man goes mad with an axe. And it only came out a year before ‘The Shining’. As for ‘The Exorcist’, ‘Tony’ and Captain Howdy? Then there’s the fade to black and the ‘open your eyes’ in the long US version of ‘The Shining’ – there’s an almost identical cut in ‘The Exorcist’.

Mirrors
Jack only sees ‘ghosts’ when he’s opposite a mirror. Check it out. Even his ‘rant’ as he walks down the corridor towards the Gold Room seems to be ‘activated’ by mirrors.

Two Jacks and two Gradys?
Is Jack crazy from the start? Is he the ‘chosen’ man to get the ghosts going or is he driven crazy by the hotel? Also note that during his job interview, his boss Ullman says Jack has come ‘well recommended by our people in Denver’. Sounds dodgy and taps into the strange mythology that has grown up since around Denver… And why is Grady given two names – Charles and Delbert?

Hallorann
Seeing as he’s an absolute expert ‘shiner’, why would he work at such an evil place as The Overlook? You’d think he would avoid it like the plague. Is this a piece of social commentary by King/Kubrick?

Vivian Kubrick
Stanley’s daughter was reportedly an almost daily presence on the set, helming her making-of documentary and helping out in the production office. She also has an uncredited cameo in the film and it’s a doozy. She even ‘toasts’ the camera. She’s sitting on the sofa nearest Jack when Delbert Grady spills advocaat on him.

Jack Daniel’s
Kubrick was a genius. In the first Gold Room scene, Jack asks Lloyd for a bourbon – but he doesn’t get one. He gets a Jack Daniel’s: Jack and Daniel (Danny). Geddit? Also see the baseball bat Wendy brandishes, a Louisville Slugger. What’s the symbolism of that? You can bet Kubrick didn’t include it by chance.

Working with children
What an amazing performance by Danny Lloyd as young Danny (big credit to Leon Vitali – check out ‘Filmworker’). He doesn’t blink. The troubling themes are a lot to pin on the young boy but he seems to have turned out OK.

Jack Nicholson
He wasn’t nominated for an Oscar. Why the hell not? Someone (Stanley Donen? Nicholas Ray? Jean-Luc Godard?) once said a good movie only needs three or four great scenes on which to hang its hat – Jack’s in all of them.

The Cult Movie Club: Honest, Decent & True/News Hounds (1986/1990)

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Adrian Edmondson in ‘Honest, Decent & True’

Brit writer/director/auteur Mike Leigh is partly famous for his method of creating shooting scripts: he works with each actor in turn to develop a character, then formulates a story based on improvisations between the various characters.

But he wasn’t the only notable figure to work in that way. Les Blair, a Manchester college friend of his, was another. Blair devised and directed two superb Play For Todays for the BBC, ‘Blooming Youth’ (1973) and ‘Bet Your Life’ (1976), before embarking on a varied career including a few feature films.

But two of his most intriguing TV plays were made during the 1980s: ‘Honest, Decent & True’ (1986) and ‘News Hounds’ (1990). They make for fascinating viewing today, shining a light on two of the decade’s most lucrative and controversial industries: advertising and tabloid journalism.

Both star ‘Comic Strip’/’Young Ones’ comedy hero Adrian Edmondson, and he plays a blinder in both. In ‘Honest, Decent’ he’s a hapless, ethically-challenged ad man, in ‘News Hounds’ he’s a tabloid hack with the morals of a sewer rat. He brilliantly subverts his madcap image to play nuanced, troubling characters, and he’s clearly fond of these two films, focusing on them in some detail in his recent autobiography. It’s a shame he hasn’t been called on to play more serious roles in his career.

‘Honest, Decent’, which won a major award at the San Francisco Film Festival of 1986, also features a great cast including Arabella Weir, Gary Oldman and Richard E Grant in his first screen role and only credit before ‘Withnail’. Grant nicely embodies the kind of ‘liberated’, louche, humourless ad man you’d come across in the 1980s, into Asian architecture, yoga and new-age music, probably driving an Audi Quattro too.

Elsewhere Leigh veteran/ex-wife Alison Steadman shows up in ‘News Hounds’ to brilliantly portray a celebrity interviewer, pitched somewhere between Nina Myskow and Lynn Barber. It’s another classic performance, and reportedly one of her favourite roles.

It’s nice to revisit these amusing, almost-forgotten movies on some hot-button topics of the ’80s (and ‘News Hounds’ is still extremely relevant courtesy of the Leveson Enquiry and its reverberations). As for Les Blair, apparently he’s still teaching at the London Film School, an alumnus of which is one M. Leigh…

Book Review: Withnail & I (From Cult To Classic) by Toby Benjamin

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The ‘Withnail’ cult shows no sign of waning. Writer/director of the 1987 movie Bruce Robinson spent some of lockdown discussing the film while co-star Richard E Grant posted regular line-readings on social media. And now there’s news of a long-awaited, Robinson-endorsed stage play.

So Toby Benjamin’s excellent ‘From Cult To Classic’ seems to have arrived at the perfect time. Authorised by Robinson and written with his full co-operation, it assembles a veritable cornucopia of ‘Withnail’ info.

The brilliantly blunt Robinson foreword almost had movingtheriver punching the air with excitement. Elsewhere letters from his personal collection show correspondence around the film’s financing and script editing. There are anotated script pages, detailed location administration and premiere tickets. We even see Robinson’s London to Cumbria train tickets for the shoot. Richard Curtis and Richard E also donate personal letters.

There are brilliant on-set photos, many by official snapper Murray Close, some donated by Robinson and the cast (including a great one of a clearly mullered Ringo Starr). All the main cast members give long, interesting interviews, as do many key bit-part players (The Irishman, the ‘Get in the back of the van!’ cop, Farmer Parkin) and the hairdresser, stills photographer, makeup artist, cinematographer, production manager, costume designer and soundtrack composers Rick Wentworth and David Dundas. We even hear from the owner of Crow Crag (Sleddale Hall).

There are a few minor quibbles – the book is dotted with ‘celebrity’ endorsements of the film but you’d be hard pressed to recognise any of them, outside of Matt Johnson, Charlie Higson and Diane Morgan, and no biographies are provided. Also the book’s ‘distressed’ interior design will probably divide opinion.

But if you’ve seen ‘Withnail’ more than once, you have to have this book. Absolutely unreservedly recommended to scrubbers and terrible c*nts everywhere.

The Cult Movie Club: The Exorcist @ 50

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William Friedkin and William Peter Blatty’s horror masterpiece received its premiere 50 years ago today – Boxing Day, 1973.

I’ll never forget my first viewing of the film. My dad suggested we go to a late-night Friday screening at a nightclub-cum-cinema called Options in deepest Kingston-upon-Thames sometime during late summer 1988.

I was 15 years old. I didn’t have a clue what lay in store for me. I’d seen ‘The Fog’, ‘Halloween’ and ‘An American Werewolf In London’ but this was a completely different kettle of fish.

The house was absolutely packed and the print was awful – this was years before ‘The Exorcist’ got a posh Warner Bros. re-release. But the graininess of the picture actually suited this truly ‘forbidden’ movie; it was still banned on video in 1988 and had the cache of a lost cult classic.

If memory serves, I spent most of the film completely terrified while my dad frequently laughed at it, possibly to mitigate my reactions and make me realise ‘it’s only a movie’ – or because he was scared too.

I still vividly recall the hideous demon face (which haunted my dreams for a few weeks afterwards) and the scraping/scratching soundtrack. And then the panic of the penultimate scene followed by moving/disturbing denouement, with Regan’s very visible facial scars, before being cut loose from the film, battered and bleeding, and hearing Salt-N-Pepa’s ‘Push It’ incongruously booming out from the nightclub below as we left the cinema. It also wouldn’t be an exaggeration to say that the movie got me thinking seriously about spiritual matters for the first time.

Watching ‘The Exorcist’ recently for the first time in five years or so, I was again mesmerised by the masterful first hour, with Friedkin’s documentary-style brilliance, fast pacing and wonderful performances from Jason Miller, Ellen Burstyn, Linda Blair and Lee J Cobb. It still makes the likes of ‘The Omen’ and ‘Rosemary’s Baby’ look fairly ridiculous.

But a few things rankled – the abuse of Regan by various male ‘authority’ figures. And, speaking from experience, in my view it would still be madness to show this film to under-18s.
Also where were the press/paparazzi at the McNeil house while all of this hooey was going on? After all, Ellen Burstyn is supposed to be playing a world-famous actress.

And take your pick of the scenes controversially excised by Friedkin to trim the film down to two hours, but I really could have done with the so-called ‘Casablanca’ ending. But the power of ‘The Exorcist’ is undiminished after 50 years. Happy birthday to a classic and RIP director William Friedkin.