The Cult Movie Club: Moviedrome

Watching ‘Halloween 2’ (1981) on the big screen the other night brought back lots of memories.

Apart from generating a few more scares than I had remembered first time around (though co-writer/co-producer/’ghost’ director John Carpenter once described it as ‘not my proudest moment’), it also brought back the very real excitement of the late-night cult movie.

‘Moviedrome’ wasn’t a cult movie but a series of cult movies transmitted on Sunday nights by the Beeb between 1988 and 2000. Pre-internet, there was a real curiosity to this collection of lost classics. Your parents had gone to bed. It was just you and the TV. What forbidden wonders were about to be unfurled?

‘Moviedrome’ was initially presented by director Alex Cox (‘Sid And Nancy’, ‘Walker’, ‘Repo Man’), and just a glance at the running order of the first two series should certainly excite movie fans of a certain hue:

1988:

The Wicker Man
Electra Glide in Blue
Diva
Razorback
Big Wednesday
Fat City
The Last Picture Show
Barbarella
The Hired Hand
Johnny Guitar
The Parallax View
The Long Hair of Death
Invasion of the Body Snatchers (1956)
The Fly (1958)
One From The Heart
The Man Who Fell To Earth
The Good, The Bad and The Ugly
One-Eyed Jacks

1989:

The Man With The X-Ray Eyes
Jabberwocky
D.O.A.
The Thing From Another World
The Incredible Shrinking Man
California Dolls
THX 1138
Stardust Memories
Night of the Comet
The Grissom Gang
The Big Carnival (Ace in the Hole)
Alphaville
Two-Lane Blacktop
Trancers
The Buddy Holly Story
Five Easy Pieces
Sweet Smell of Success
Sunset Boulevard

Many of these films are etched upon my brain 30 years on, particularly ‘THX 1138’, ‘Electra Glide In Blue’,  ‘The Man With X-Ray Eyes’, (‘Pluck it out! Pluck it out!’), ‘Five Easy Pieces’ and ‘The Parallax View’. In later series, they showed uncut UK premieres of ‘Bad Timing’, ‘Scarface’ and ‘Pulp Fiction’, amongst others. Checking in to watch ‘Moviedrome’ on a Sunday night gave you the feeling that you were a member of a very small but select club.

Cox’s introductions were highly original bits of film criticism in themselves, with his arch sense of irony and keen eye for detail (bit-part actors, weird editing, striking set design). He even had the audacity to present his own movie ‘Walker’ during the series. Later Mark Cousins brought a more serious tone, an intriguing accent and also some intelligent, subtle analyses. Watching a few of these intros just make me want to watch the movies again. If only there was such a widely-seen yet distinctly ‘cult’ film club as ‘Moviedrome’ these days.

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The Cult Movie Club: Southern Comfort (1981)

After the extended prologue, when Ry Cooder’s swampy blues riff slides in over a glorious widescreen shot of the Louisiana bayou, you know you’re watching a classic of its kind.

To this day, co-writer/director Walter Hill claims that the superb ‘Southern Comfort’ doesn’t directly allude to the Vietnam War, but it’s hard to conclude otherwise – set in 1973, his film concerns a motley group of weekend National Guardsmen whose sojourn into Cajun country (with the promise of prostitutes at the end of the road) turns into a desperate fight for survival when a foolish prank leaves them at the mercy of some particularly vengeful locals.

Hill prefers to call it a ‘displaced Western’, a film about escalating moral dilemmas in unfamiliar surroundings. That rings true too, but watching it again after ten years or so, I couldn’t help comparing it to John Carpenter’s ‘The Thing’, another all-male classic about creeping, self-defeating paranoia, fudged leadership and dodgy group-think. ‘Southern Comfort’ might also be described as ‘The Warriors’ meets ‘Deliverance’. It’s that good.

This is a pre-irony, pre-CGI action movie, where men are men (the sort of men who might get a ‘phone call in a pub….on a landline’), decisions have consequences and vengeance is swift and fairly brutal. The action sequences are gripping, though never tawdry, and look extremely punishing for the cast – there’s a particularly realistic dog attack and a memorable quicksand incident. Apparently the shoot was long, cold and difficult, with camera tripods frequently sinking into the bayou.

The dialogue is fast and loose – the brain has to be in gear to pick up all the political/ethical nuances that fly by – and the acting styles deceptively ‘naturalistic’. Keith Carradine and Powers Boothe are superb as the reluctant heroes who must overcome their basically apolitical stances to become men of action and moral choice. Carradine in particular makes for a fascinating action-man (according to Hill, his character is a ‘Southern aristocrat’). The secondary cast of mainly unknowns (the ever-excellent Peter Coyote aside) is also superb.

But ‘Southern Comfort’ was a commercial dud on its 1981 release. Maybe, like ‘The Thing’, it’s far too stark a vision. But it certainly it spawned some new movie clichés and looks like an influence on many ’80s movies from ‘Aliens’ to ‘Predator’. It’s also a fascinating watch these days considering the state of the US – the film’s message seems to be that peace is impossible while there remain so many internal divisions and prejudices.