Monday, September 1, 2014

Every Which Way But Loose (1978) review


Clint Eastwood (Philo Beddoe), Sondra Locke (Lynn Halsey-Taylor), Geoffrey Lewis (Orville Boggs), Ruth Gordon (Ma), Beverly D'Angelo (Echo), Walter Barnes (Tank Murdock), John Quade (Cholla), Dan Vadis (Frank), Bill McKinney (Dallas), William O'Connell (Elmo), Gregory Walcott (Putnam)

Directed by James Fargo

The Short Version: Armed with fully loaded fists, a lovable orangutan, a filthy-mouthed old lady, and all the beer you can drink, Clint Eastwood stars in this box office knock-out. He's a bare-knuckled brawler chasing after the love of his life in between bar fights and being trailed by a vengeful cop, and an incompetent motorcycle gang. Virtually plotless, this 2 hours of consistent hilarity and fun became an unexpected smash success, and was Clint's biggest hit at that time. Get a BIG bucket of popcorn and a pitcher of cold beer for this one, but hide the Oreos!

Philo Beddoe makes a living as a local trucker driver and bare-fisted brawler on the underground circuit. One day he falls head over heels for a singer at the Palamino Club. When she unexpectedly up and leaves town allegedly over a jealous beau, Philo heads off after her, encountering trouble along the way. While he chases her, he's chased by a bumbling motorcycle gang and an off-duty cop who met Philo's fists in a barroom skirmish. It all ends with a fateful meeting of the knuckles when Beddoe tangles with Tank Murdock, a legend around those parts.

Nobody was expecting this wild and wooly Clint comedy actioner to bring home the box office bacon the way it did. The script was originally intended for Burt Reynolds's hands, but Eastwood was charmed by the unique scenario. Critics still saw the finished product as a train-wreck, but paying customers were having none of it while sending EVERY WHICH WAY BUT LOOSE to a 100 million haul.

It's doubtful Reynolds would have brought the same level of deadpan humor that Eastwood does. Still, Reynolds was a logical fit for the material given his string of southern fried action and race car hits that began earlier in the decade, and continued into the 1980s. If anyone ever wanted to see two of the 70s biggest stars team up, they got their chance in 1984 with CITY HEAT. 

Clint Eastwood had been a living, breathing goldmine for years from his various westerns at home and abroad; this includes the popular DIRTY HARRY series, and an occasional experimental movie thrown in from time to time. Nothing he'd done before was quite as different as this. The actor hadn't starred in a full-on comedy before, so this was a gamble, and one that paid off in a big way. One of the keys to that success was the inclusion of Manis, a member of Bobby Berosini's orangutan act. 

Manis played Clyde, an ape Philo won in a bet taking on four guys in a fight. A strong bond is presented between Philo and Clyde that reportedly extended to their offscreen companionship as well. Clint was said to occasionally visit Manis when he was performing at Vegas shows as part of Berosini's act. Sadly, Manis wasn't able to return for the sequel as he had grown too large (sources state the ape was 11 years old at the time), and was believed to have become too aggressive.

When Clyde isn't accompanying Philo to bars, he's making a nuisance of himself at home with Ma, Orville's foul-mouthed mother. Ruth Gordon and Clyde battle it out onscreen to see who can steal the most scenes. Speaking of thievery, Clyde loves stealing Ma's Oreos; and that's one thing Ma doesn't like to share is her Oreos.

To say Ruth Gordon is a scene-stealin', show-stoppin', shotgun blastin' granny grumpus is an understatement. The personification of the cranky old lady, Gordon plays the cliches to the hilt and then some. She gets many of the best lines, and her delivery is comedy gold. She also has a grand old potty mouth that begs the question if Gordon had ever spent time on a sailor's ship. 

John Quade is perfectly cast as Cholla, the leader of The Black Widows, a dopey, clumsy-footed biker gang that are about as threatening as a car-load of circus clowns. They have their own theme music, and function as little more than cartoon characters. They have a few run-ins with Philo, and every time the result is the same -- bruised, battered, and beaten. There's a running gag that for every scuffle the Black Widows get into, they not only lose the fight and a little more dignity, but lose a bike or two in the process.

Former Italian muscleman and western star, American Dan Vadis has a role as one of the BWs. He's slimmed down considerably from his busier movie acting days in the 1960s. Still very toned, Vadis appeared in numerous supporting roles in a variety of Eastwood movies. 

Geoffrey Lewis is an extraordinary character actor. The man has played virtually every kind of role in domestic and foreign productions. His part as Orville Boggs is possibly his best remembered, and it's one he reprised for the sequel. He runs a tow service and acts as Philo's fight manager. He plays perfectly off of Eastwood. It's never revealed in the film, but if you didn't look at the end credits, or recall a line from Eastwood, you'd swear the two men were playing brothers.

If there's any real negative in this movie, it's the inclusion of Putnam, an off-duty cop who starts trouble with Philo in a bar after opening his mouth to which Beddoe promptly closes it. His pride hurt, the officer takes vacation time to chase Beddoe down in the hopes of returning the favor. The inclusion of Putnam does nothing except add another character chasing Beddoe while he chases Lynn. Which brings us to....

Sondra Locke had co-starred in Clint's movies since the late 70s and her role here isn't the most wholesome -- playing a hustler that moves from one town, and one man to the next. Locke's portrayal of bar band singer Lynn Halsey-Taylor is eerily foreshadowing of public opinion in lieu of how the couple ended up by the end of the decade, and again in the mid 90s. The two had both a romantic, and working relationship that melted down in 1989 during some ugly mud-slinging and a lawsuit. A second round of legalities came in 1995 when Locke was awarded an undisclosed amount. She told reporters, "I don't have to worry about working -- let's put it that way", and "I'm very happy with the settlement, but it wasn't about money; it was about closure". Her first appearance in a Clint flick was in THE OUTLAW JOSEY WALES (1976) and the last being SUDDEN IMPACT (1983).

The sequence near the end where Beddoe realizes his action-oriented journey has been all for nothing other than the viewing audiences enjoyment is the one time the film gets serious. There's also a bit of irony in that this is one film where the hero doesn't get the girl in the end; instead, Orville gets a girl in the form of the sexy Beverly D'Angelo, a young lady running a fruit and vegetable stand with the freshest melons for miles. a few years later she was taking a VACATION of another sort with Chevy Chase in the 1983 National Lampoon classic.

The bittersweet finale doesn't stop with Philo learning the woman he'd been pursuing wasn't much of a lady; he sets up a bare-knuckle brawl with the legendary Tank Murdock (western star Walter Barnes), a fighter we hear a lot about, but never see till the end. Philo, enraged and smarting from the emotional beating he took from Lynn, pummels the aging bruiser; and as the crowd begins to boo their hero, Beddoe's next move is one you don't quite expect.

Much of the success of Fargo's film goes to the country music soundtrack spearheaded by Eddie Rabbitt's hit song of the same name. The song, 'Every Which Way But Loose', climbed to #1 for three weeks in 1979 on Billboard's Country chart, and #30 on the Hot 100. Mel Tillis and Charlie Rich feature on a few songs a piece, and Sondra Locke sings a tune or two.

So what if critics trashed it? EVERY WHICH WAY BUT LOOSE may be missing a plot, but it makes up for it in sheer quirkiness; and combining elements that don't appear to be a good match, but in the end, go great together. Both films have been on television countless times, so it's doubtful if most viewers haven't seen it at some point. If not, get ready for one of the manliest movies of all time, good times, good tunes, and a movie that will turn you Every Which Way But Loose.  

This review is representative of the Warner Brothers DVD.

Sunday, August 31, 2014

First Blood (1982) review



Sylvester Stallone (John Rambo), Richard Crenna (Colonel Trautman), Brian Dennehy (Teasle), Bill McKinney (Kern), Jack Starrett (Galt)

Directed by Ted Kotcheff

The Short Version: Sylvester Stallone drew box office blood with his second most popular character behind Rocky Balboa. FIRST BLOOD feels like one of its 70s 'Crazed Vietnam Vet' brethren, but with a lot more polish; and aided and abetted by a strong Jerry Goldsmith score. It's a taut action thriller that intermittently touches on the topic of the Vietnam War and its effects on those who fought there. The rest of the time Kotcheff's movie loses itself in action movie tropes while building one of the 1980s biggest macho icons. Based on David Morrell's novel from 1972. 

John Rambo is an emotionally scarred Vietnam vet traveling on foot to visit an old war buddy. Upon learning his friend has passed away, John drifts into a small town only to be harassed by a local sheriff. Arrested and humiliated, the horrific memories of the war surface and set the disturbed man off. After a violent confrontation, he escapes the police station leading the cops on a manhunt to capture, or kill the crazed, yet provoked veteran. Soon after, Rambo's old commander shows up, and he's the only man who can bring an end to Rambo's war at home.

The director of Aussie thriller WAKE IN FRIGHT (1971), the testosterone fueled war film UNCOMMON VALOR (1983), and the comedy WEEKEND AT BERNIE'S (1989) set the film world on fire with this searing, suspenseful story about a troubled war veteran attempting to re-integrate with society, and society just won't let him. It's a damn near perfect action movie with some great performances, snappy dialog, and a lot of subtext brewing just under the surface.

The fantastic Canadian locations are awe-inspiring. The Fall shooting schedule added a great deal of atmosphere at the cost of putting the cast through extremely cold temperatures. The sprawling mountains overlooking the small town is one helluva sight giving DP Andrew Laszlo (THE WARRIORS, THE FUNHOUSE, SOUTHERN COMFORT) lots of room to work his photographic magic; as well as turning a wilderness into an archaic, almost medieval setting.

The first in this popular (so far) quartet of action films is a return to the 'Crazed Vietnam Vet' sub-genre that proliferated in the 1970s. There's also shades of Southern Gothic style thrillers in the vein of MACON COUNTY LINE (1974), A SMALL TOWN IN TEXAS (1976), and MOVING VIOLATIONS (1976). Of these, there's one other motion picture FIRST BLOOD shares a far more striking resemblance to -- the obscure action-comedy-drama, RUCKUS (1980), aka RUCKUS IN MADOC COUNTY, aka EAT MY SMOKE. 

In that film, Dirk Benedict was a war vet who, like John Rambo, wanders into a small town for a bite to eat and is immediately hounded by townsfolk and law enforcement. A young lady (played by Linda Blair) helps him out as the town mounts a search for the war hero who must use his special forces abilities to stay ahead of his oppressors. In another similarity, the cops remark how bad Rambo smells; and in RUCKUS, Kyle Hanson (Benedict) looks like he's just crawled out of a mud hole. However, RUCKUS is much more laid back than FIRST BLOOD, and far less serious. It also was pretty much forgotten about save for cult film fans (foreign releases used Rambo-like artwork for home video) while the Stallone film, armed with a bigger budget and lead star, has laid claim to a permanent spot in the pop culture lexicon.

FIRST BLOOD was based on David Morrell's 1972 novel of the same name. That same year, the film rights were reportedly passed around to various studios, and continued for the next ten years. Umberto Lenzi's IL GIUSTIZIERE SFIDA LA CITTA, a crime picture under various names like SYNDICATE SADISTS and RAMBO'S REVENGE came out in 1975. Tomas Milian's main character is named Rambo. Aside from that, and unlike the above-mentioned RUCKUS, there's no similarities between the book and Lenzi's movie.

The two Rambo sequels that followed in 1985 and 1988 were very different in tone; they were all-out action pictures while FIRST BLOOD was more dramatic. It addressed the plight of men who came home from the war in Vietnam -- only to receive a less than hero's welcome. As the film draws to its conclusion, it turns into a private little war between Rambo and the sheriff. It all culminates in a bravura final sequence between Stallone and Crenna where Rambo figuratively spills his guts about what's eating away inside of him. All those years of torment gush out in a matter of minutes, and the one-man army reverts to an almost child-like state in the face of his one trusted friend, Colonel Trautman.

Sylvester Stallone is a much better actor than he gets credit for; in addition to his duties writing and directing other films in his career. His aforementioned speech at the end of FIRST BLOOD is a powerful, memorable oration; and elevates Kotcheff's movie to a level above your typical macho escapism. In the original ending, after Sly's speech, the finish was a darker one wherein Rambo commits suicide. Thankfully, the filmmakers went with the less pessimistic of the two. He walks out alive, and a few years later, into a more outrageous sequel that attempts a similar closing speech, but one peppered with musclebound bluster and the sort of patriotism you just don't see anymore.

1982 was a great year for the actor. He had another hit in the already profitable ROCKY series, and was cultivating another box office crop with the Rambo production. ROCKY 3 had come out in May of that year, and FIRST BLOOD followed in October. Stallone would significantly surpass this success with the same two franchises in 1985.

There are so many memorable moments in FIRST BLOOD. One of them would have to be the section of the movie where a posse of police heads into the woods to find Rambo. What they don't initially realize is that Rambo is hunting them. There's a tinge of horror to this sequence; with an air of tension as thick as the forest the officers become trapped in. Rambo incapacitates them one by one using his Green Beret skills; these consist of assorted traps and his hunting knife -- a knife that, by 1985, everybody wanted to own; and one that would start a trend of scary looking movie knives a la COBRA (1986) and CROCODILE DUNDEE (1986). Saving Teasle for last, he tells the contentious cop that he'll "give [him] a war [he] won't believe"; and he does, too.

Aside from action, there's a fantastic dialog exchange between Colonel Trautman and Sheriff Teasle in a bar. It speaks on a few levels; on Vietnam and being a lawman, and how the lines between doing what's right, and what you think is right becomes blurred; and sometimes blurred with blood. Teasle states he was so mad he could kill that kid; to which Trautman responds, "It can get confusing at times"; he continues that in Vietnam "you can bet Rambo and I got pretty confused"; stating they were told, "We had orders... when in doubt, kill". This conversation is the one and only time Teasle comes off like a compassionate human being.

Richard Crenna obtained the role of Trautman after Kirk Douglas passed on it when certain details in the script weren't to his liking. FIRST BLOOD will likely remain the film Crenna is most associated with. His numerous, aggressively catty remarks to the lawmen about Rambo's superiority go far in building the character; successfully transforming him into the superman Rambo would become in the second picture. Trautman is also something of a father figure. There's a bond between the two men -- almost like those who were in 'Nam are part of a secret club. They both know what the other is thinking, and what the other is going to do.

Fans of director Jack Starrett will get a kick out of seeing the Texas born filmmaker playing a brutish cop. Starrett directed some of the best Drive-in style movies of the previous decade including THE LOSERS (1970), SLAUGHTER (1972), CLEOPATRA JONES (1973), RACE WITH THE DEVIL (1975), the aforementioned A SMALL TOWN IN TEXAS (1976), and FINAL CHAPTER: WALKING TALL (1977). He often appeared in small roles in his own movies, and in the films of others.

Armed with high powered weaponry, some fantastic suspense, action, and a riveting soundtrack, FIRST BLOOD revamped a forgotten 70s sub-genre for the 1980s while simultaneously laying the groundwork for a new, if highly stylized, exaggerated style of action picture. Oiled up, musclebound men with heavy artillery blowing things up left, right and center became an 80s staple, and one that was parodied in the 1990s. A unique action drama, everyone involved in drawing FIRST BLOOD (1982) created a franchise juggernaut spearheaded by one of the decades most popular actors.

This review is representative of the Lionsgate Blu-ray.

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