1984 Tagged Articles at Cinematical

Erik Davis ordered me to come up with a new approach to summer movies, and he demanded that the concept be intelligent, engaging, and jam-packed with vowels and consonants. (One out of three isn't bad.) And since I'm a childish movie nerd who had a deep affection for all things nostalgic, my first idea was "Hey, let's have the writers pick their favorite 'movie summer' and write a piece about it." And since my next eleven ideas stunk, he said "Ugh, fine. Do your Favorite Summers thing. But don't forget the vowels."

Nearly all of the Cinematicaleers will be penning their own pieces, but since I like to lead by example (when I'm not leading by guilt), I figured I'd get the ball rolling first. (Special thanks to Box Office Mojo for displaying OLD release dates in very handy fashion.) Also, for the sake of this series, let's say "summer" counts as "May through August," even though May is technically spring and part of September is definitely summer.

5/4 -- The Bounty // Breakin' // Hardbodies // Sixteen Candles -- So which one of these would be the big "Iron Man" release? We got Gibson and Hopkins in a nautical remake; a whole lot of pop-lockin' looneys; a leering sex comedy that helped to kill the sub-genre of mid-'80s sex comedies; and the directorial debut of one John Hughes.

5/11 -- Firestarter // The Natural -- Robert Redford knocking the cover off a baseball and Drew Barrymore immolating George C. Scott. Now THAT's summer!

5/18 -- Finders Keepers // Making the Grade -- A pair of justifiably forgotten farces, yes, both of which I saw theatrically.

5/23 -- Indiana Jones and the Temple of Doom -- Even back in 1984 Indiana Jones demanded his very own weekend ... one that starts on a Wednesday, no less! I distinctly remember seeing this on the afternoon of opening day, and while I was waiting for Mom to come pick us up, there was a woman BERATING the box office girl. Honest! Something about the heart-tearing scene had upset her small child. And just like that, the PG-13 was born.

Right off the bat, I have issues with this list. Not so much for the fact that almost all of the films are sci-fi horror/thrillers, but because they left off a film with such a depressing ending that it still haunts me to this day. But first off, Den of Geek has compiled a list of what they feel are the 10 most depressing movie endings ever. Before you click over and check them out, be warned that massive amounts of spoilers await you. Here's their top ten: Soylent Green, The Elephant Man, The Descent, Invasion of the Body Snatchers, The Fly, Dead Ringers, Spider, Nineteen-Eighty Four, A.I. and -- drum roll please for number one -- The Mist.

Yes, valid points are made on all of them. Yes, they are depressing. But what about The Last American Virgin? Now there's a film with the most depressing ending I've ever seen (and if you've watched that film, you know exactly what I'm talking about). Off the top of my head, No Country for Old Men had a pretty depressing ending -- as did Goodfellas. There's Untamed Heart, Venus, Requiem for a Dream -- pretty much any film where someone is dying of an illness, but gets one last chance at love. Though it served as a bridge film, I thought Empire Strikes Back had a pretty depressing ending. Check out their list, then tell us which films were left off.

In your opinion, which film has the most depressing ending of all time? (Dammit, now I have The Last American Virgin ending stuck in my head. Sigh.)

UPDATE: Here's another list from our friend Alex on the 15 Bleakest Film Endings of All Time. A lot of the films you folks talked about in the comments are on his list, so hop on over and check it out.

It's difficult to underestimate the significance of The Clash in rock 'n' roll. They belong on any serious list of the top five rock 'n' roll performers of all time, and their 1979 masterpiece London Calling belongs on any list of the top five albums. But beyond that, do we know who they were? Julien Temple's new documentary Joe Strummer: The Future Is Unwritten attempts to answer that question, although if you want to know more about Mick Jones, Topper Headon or Paul Simonon, it'll have to wait for another movie. This is Strummer's world, and we all just wish we were living in it. The movie begins, like any biography, with Strummer's parents. His father was a diplomat that moved from country to country; Strummer was born in Turkey as John Graham Mellor, and later insisted on being called "Woody" before adopting his legendary moniker.

The singer, songwriter and guitarist attended art school, lived as a squatter in an abandoned London flat and busked on the street before forming his first band, a rockabilly unit. But when he saw the Sex Pistols play, he decided to move in a different direction. The Clash was born, and with it a series of extraordinary shows and five great albums. But only the movie's first hour is dedicated to the Clash. As Strummer intones on the soundtrack, they made every conceivable mistake: success went to their heads, too many drugs, etc. They even made up a few new ones. The band grew successful, they began squabbling and they lost their direction. Temple includes a terrific sequence in which he intercuts two performances of "White Riot," one from a small club in 1977 and one from a giant stadium in 1983, brilliantly illustrating how big they grew and how far they fell.

Talk about guts! This kid submitted this video to Stanley Kubrick way back in 1983 when Kubrick was having open auditions for Full Metal Jacket. Kubrick had advertised around the U.S. for young actors to send in audition tapes to be considered in the casting process. Brian Atene, aged 20 at the time, sent this tape in and was apparently never heard from again, as least by Hollywood. That is until this video started making the rounds on the web.

Now, Mr. Atene can be accused of many things, but being shy about his "acting abilities" sure isn't one of them. He compares himself to a young Alec Guiness, and calls the Juliard School where he is a student, the "finest acting institution in the world". Although he says this, "not as a statement of conceit, but humbly as a statement of fact." He calls Kubrick one of the greatest directors of all time while rolling his eyes to the heavens, although tells him that he isn't quite as good a director as Michael Curtiz, who directed The Sea Hawk (which is apparently Atene's favorite film) in 1940.

After taking Kubrick to task for not directing 2010, he goes on to let him know that his favorite composer is Erich Wolfgang Korngold (he composed the music for The Sea Hawk, of course), that he won a puppy for 50 cents when he was 12 years-old, and his favorite color is green. Oh, and he's a Trekkie. He then performs a short "cutting" loosely based upon on The Outsiders, by which I think he means the book, and not the film, since that came out the same year that Atene was recording the tape.

This is probably the best video definition of the word hubris that I've ever seen. See for yourself after the jump. Once you've seen that, check out the parody update of Mr. Atene, aged 43.

Tim Robbins, seriously. You're a handsome man - tall and engaging, which somehow makes people overlook the weird gawkiness. Usually. But dude, you need a haircut. In case you were under a mistaken impression that it looked hot, the shaggy, gross look is not a good one for anyone over 15, and it's debatable even for them. But I think I know what the problem might be - in case all of this thinking about 1984 has you a bit confused, here's a reminder: 1984 is a play, a book, and a movie you're hoping to make. 1984 is NOT, however, the year. Write it down. Live it.

Note: post has been edited to include a photo of the odious hair. Thanks, lc.

Tim Robbins who, as well all know, loves him some politics, is in preparations to direct a stage adaptation of George Orwell's 1984 in Los Angeles starting next month. The play will run for about two months, but Robbins is hoping his involvement with the novel won't end there - though he doesn't appear to have had any formal contact with studios about it, he already has a screenplay written, and is currently in the process of "trying to put...together" a movie version. So, things are still very much in the planning stages, but the story is undeniably up Robbins' alley. Describing Orwell as only "20 years off" with his title, the actor/director is fascinated by the relevance he finds in 1984 today, and clearly hopes that a movie will appeal to others who share his point of view.

I'd love to see this get made, both because I think Robbins is an interesting director, and also because things will be awfully quiet once the gay cowboys and Michael Moore's health care movie have moved on. We'll be needing something else to argue about.