S.M. Douglas

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Category: Movies (page 3 of 6)

Was 1981 the Best Year in Horror Film History?

Here we are folks. I have been building toward this post for an entire year. Last October I discussed how 1981 featured several of the greatest werewolf films and transformations of all time. Then, this spring I waded into the controversy over two of the more iconic nature-horror films of all time: both featuring lions and both released in 1981.

At that point I probably could have stopped with quite a case built as to why 1981 was a great year for horror fans. But of course horror is much more than werewolves and animals run amok. For instance, I haven’t even mentioned as of yet perhaps the most successful horror genre of the past forty years – the slasher film. Largely kicked off by the October 1974 release of the Texas Chainsaw Massacre (which introduced several key elements of the genre – including murder by power tools and a powerful mask wearing killer) the genre exploded in popularity during the early 1980’s. Continue reading

Twenty Things I Bet You Never Knew About The Making of Jaws

If you are a fan of the movie Jaws then you know that tomorrow is the 40th anniversary of the film’s release (June 20, 1975). Last month I discussed some of the reasons Jaws may have been the greatest horror film ever as part of a follow up to a previous discussion of nature-horror films. What many people don’t know is that quite a bit of “movie magic” went into the making of Jaws.

Making of Jaws

Let’s take a look at some fun facts about the making of Jaws even hard core fans of the film might not know:

1. Peter Benchley (author of the novel Jaws) spent his summers on Nantucket (where his parents lived). Yet prior to the movie’s filming he had never set foot on Martha’s Vineyard (the location chosen for filming) even though it was literally the island next door.

2. Though Jaws Production Designer Joe Alves immediately fell in love with Martha’s Vineyard it was the island’s underwater charms that sealed the deal. The seabed off Martha’s Vineyard’s eastern shore has a flat sandy bottom crucial for deploying the platform that would move the mechanical shark they had designed.

3. Steven Spielberg was not the first choice to direct Jaws. However when the original director chosen first met with Peter Benchley and the producers he completely alienated Benchley by constantly referring to Jaws as a whale. Producer Richard Zanuck promptly turned to Spielberg, whom he had worked with on the film The Sugarland Express.

4. The mechanical shark was named “Bruce” after Steven Spielberg’s attorney Bruce Ramer.

5. Led by Casting Director Shari Rhodes, the Jaws team ended up using Martha’s Vineyard locals for the overwhelming majority of the roles in the film. In fact, other than Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, and Murray Hamilton, pretty much everybody else cast in the film was a local – including all of the kids, most of the fishermen, and even Jeffrey Kramer who played Deputy Hendricks.

6. Quint’s boat, the Orca, is actually a 30 foot retired lobster boat named Warlock. The pulpit, mast, and big plate glass windows seen in the movie were all add-ons. This was much to the detriment of the vessel’s seaworthiness. The big plate glass windows were a particular no-no. A wave could easily punch right through the windows and swamp the boat. Surprisingly the Orca actually survived the filming process (a replica was produced for the sinking scenes).

7. Much of the script was reworked during principal filming (which began on May 2, 1974). Carl Gottlieb was the principal writer, but Scheider and Shaw made now legendary contributions to the script. A dozen more had a hand in creating some of the film’s best lines. For instance local resident Henry Carreiro played “Felix” in the film. During the fishing armada scene when Richard Dreyfuss (playing Hooper) asks where he can find a good restaurant Carreiro ad-libbed the line about walking straight ahead (and off the dock). Everyone laughed, and Spielberg decided to go with it. Though Spielberg takes flack for his work on Jaws, he should actually get considerable credit for creating such an open collaborative process and knowing when a good line worked no matter who it came from.

8. Local Vineyard waitress Andrea Muir “played” Chrissie’s hand during the scene when her remains are discovered on the beach. Muir spent hours laying on the beach with her hand made-up to look like it had been floating all night at sea.

9. Robert Shaw modeled Quint’s salty language and personality off two of the most colorful islanders: Craig Kingsbury and Lynn Murphy. Both played key roles in helping with production of the film. Murphy in particular was an expert sailor who time and again bailed out the production team; particularly involving the filming of the movie’s third act.

10. Roy Scheider was slapped in the face seventeen times filming the scene where he is confronted by Alex Kintner’s mother. Luckily he was a former Golden Gloves boxer and could take it.

11. The scene at the dinner table where Roy Scheider and Jay Mello (the six year old local boy playing his son) are copy catting each other initially occurred during a break in filming. Scheider brought it to Spielberg’s attention, and Spielberg liked it so much he put it in the movie.

12. The filming technique “day for night” is used to do most of the night scenes, whereby they actually film during the day but with a special filter on the camera. It was popular in the sixties and seventies, but didn’t work all that well. In Jaws it was more convincing by using techniques such as filming on overcast days and doing additional work in the lab to create the feel of night.

13. Great efforts were put into making the mechanical sharks look realistic. This included spray-painting them with a rubberized paint to make the skin like rough shark skin. The teeth were actually made out of a substance that was similar to rubber. There were two sets, one hard for biting boats and one softer for biting people. The sharks ended up quite impressive looking for the day, but obviously were lacking in many ways. I would love to see what someone could do today instead of relying on all the cartoonish CGI bullshit. Sorry for the editorializing, but sometimes creating real physical special effects works wonders for making a movie an experience. If you don’t believe me then you should go see the new Mad Max (pure movie making with almost no CGI) and then watch the new Jurassic Park (a cartoon fest).

14. Robert Shaw really was hammered off his ass for the Indianapolis scene (all three actors were drinking). And he still rocked it. The man was a genius (plus he could hold his liquor).

15. The dirty ditty sung by Quint about the lady who died at 103 and “for fifteen years she kept her virginity….not a bad record for this vicinity” came from a gravestone Robert Shaw saw in England and added into the script.

16. The guitar player on the beach at the beginning of the film is playing a stylized version of Otis Redding’s “The Dock of the Bay”.

17. The scenes shot on the sinking Orca were mostly done within one hundred yards of the beach.

18. Robert Shaw and his stunt double had to wear a special padded vest to protect themselves from the shark teeth during the filming of Quint’s demise. Though the teeth were rubber they and the jaws snapped hard enough to deliver quite a chomp.

19. Not all water scenes were shot at Martha’s Vineyard. The shark cage sequence was a composite of real sharks shot in Australia and a swimming pool in California. Ben Gardner’s boat discovery scene was also shot in the same pool, as were the scenes of the swimmer’s from below.

20. To get the sea gulls to swarm around after the shark is blown up and Brody and Hooper are kicking to shore potato chips were scattered all over the water (which apparently sea gulls love).

 

 

Was the Greatest Horror Movie Ever Really a Horror Movie?

Last month we discussed the topic of “nature-horror” and as part of that discussion the movie Jaws came up. Given we are fast approaching the forty year anniversary of the film’s release (June 20, 1975) let’s revisit one big reason why it was able to become a massive blockbuster, unlike Grizzly, Orca, Piranha, and so on….

Jaws_Movie_Poster_

First off, remember that Jaws is widely regarded as one of the best horror films ever, with the opening scene rated by Bravo as the scariest moment in film history.

People were so terrified by Jaws many spoke of being afraid to even take baths. Now some of this is hyperbole, but as a kid I more than once found myself peeking under the water in fear when in a swimming pool or lake, no less the ocean. That didn’t stop me from watching the movie over and over again. To this day it is my all-time favorite, and a huge influence on my life – including a primary reason behind my twenty plus years as a scuba diver.

When people discuss why Jaws became such a cultural phenomenon they often point to the strong cast, John William’s great score, the superb editing done by Verna Fields, the decision to leave the shark unseen for most of the movie (though this can backfire as anybody who has seen the latest Godzilla film will attest), and other such elements. But I believe there is another reason Jaws achieved the cross-over appeal most other horror flicks can only dream about; and that’s because Jaws was more than a horror movie.

Now, many of my readers will blanch at such a statement. After all what is more quintessentially horror than a giant man-eating shark laying siege to an entire town? But careful viewers of Jaws will note that it’s really two movies. The first half is an unquestionable scare fest featuring numerous gruesome deaths capped by the bloody shark attack in the estuary. The second half is more of a man versus nature adventure film. Don’t get me wrong the final act is also filled with classic horror techniques, including many “gotcha” moments to make the audience jump – plus Quint’s ghastly death. But that’s also why the film works so well where others fail.

In combining the genres of horror, adventure, and even comedic aspects Jaws connects with the viewer in ways standard horror movies struggle to emulate. The strong character development, intense pacing, and story don’t hurt either. But without blending genres as he did I seriously doubt Steven Spielberg and the immensely creative team of actors, screenwriters, editors, and so on working with him would have been able to so viscerally tap into our most primal fears. And before you say “well if mashing together different genres is the ticket to the big-time then why doesn’t everybody do it” note that doing it in a way that works is far from an easy task. One need look no further than Peter Benchley’s novel of the same name.

Sure Jaws the book was a best seller that achieved tremendous success, but when measured against the movie version it is one of the few books that comes out the loser in such comparisons. For instance, and for whatever reason (perhaps to piggyback on the Godfather’s coattails) Benchley included a mafia related sub-plot that simply did not work with the horror/adventure genre’s he tied together and Spielberg’s team improved upon. That’s why come June 20th I will plop down on my couch, dim the lights low, and not crack open my early edition hard cover copy of Jaws. Instead, and for the hundredth time, I will pop into my Blue-Ray player this all-time classic. And I will love every minute of it.

 

Nature, Horror, and 1981

Last week there was a tremendous amount of buzz about the 1981 horror movie Roar.  As I will discuss below, and if one were going to single out the best nature-horror movie of that year, it would not be Roar. But before we get to that point I just want to clarify what I mean by ‘nature-horror’.

On June 20, 1975 perhaps the greatest horror movie of all time was released – Jaws. I will have much more about Jaws in the months to come, my all-time favorite film. Jaws was immensely influential for a number of reasons. One of these being that it spawned a slew of imitators based on the concept of man eating beasts, or as referenced here: nature-horror. In the late 1970’s to early 1980’s horror fans were treated to such films as Alien (Jaws in space), Orca (Jaws as a vengeance minded killer whale), Grizzly (Jaws as a bear), Piranha (I once owned three piranha’s and other than when feeding they are actually quite tame fish), and of course Jaws II and III; as well a veritable cornucopia of lesser films (Tentacles, Barracuda, and so on….). During these years virtually every type of animal, real or imagined, was turned into a vehicle for scaring film-goers. And lions were no exception. Which brings me back to 1981 and Roar.

Directed by Tipi Hedren and Noel Marshall, Roar is famous for and promotes itself as “The Most Dangerous Film Ever Made” as seen by the official movie trailer:

Now, this is not just idle boasting. The film featured 130 big cats, including lions, tigers, jaguars, and more. During filming the cast and crew sustained 70 injuries. Many were quite severe. For instance teenage Melanie Griffith was mauled by a lion and needed facial reconstructive surgery. Director (and big cat activist) Tipi Hedren broke her leg in an accident riding an elephant, and was bitten by a lion (38 stitches). Co-Director Noel Marshal was slashed by a Cheetah, bitten on the hand by one lion, and dragged around the set by another lion. The film’s cinematographer, Jan de Bont was almost scalped by a lion. He needed 220 stitches to put his head back together. I could go on and on….

It ended up taking 11 years to make the movie (for a variety of reasons), and when it was all said and done Roar (which was ostensibly about a man living with wild animals but whose family gets attacked when they come to visit) bombed at the box office. It pulled in only $2 million even though it cost $17 million to shoot. To add insult to injury it wasn’t a good movie. Other than if you’re a Melanie Griffith fan, the only reason to see Roar is that several of the animal attacks on crew members and cast make it into the film – adding a certain authenticity to the experience.

Though Roar is currently grabbing all the attention what many forget is that in 1981 another similar and much better film was released – Savage Harvest. Taking place in drought plagued East Africa this film is about a pride of lions that attacks a family in their home.  Again pretty basic stuff, even for the nature-horror genre.

But there are a couple of things that make this movie work where Roar falls on its face. This is not to say Savage Harvest rises to the level of Jaws or Alien. The film can be schlocky at times (especially early on), but it has some genuinely frightening moments. In addition it has Tom Skerritt (Dallas from Alien). He does a commendable job of playing the family patriarch. Furthermore, the movie takes the time to craft its characters so that you actually care about what happens to them. In particular, once the lions besiege the family Savage Harvest finds it’s footing. Check it out for yourself. The entire movie is available courtesy of You Tube:

Now in discussing Roar and Savage Harvest astute readers may have clued in on something else – the year. Ah yes, here we are again in 1981. In previous posts I have visited this year because it featured two of the all-time greatest werewolf movies. Now I’m back discussing two notable nature-horror films from the same year. Could it be that 1981 was the best year ever for horror-film fans? You will just have to stay tuned, because even though I have presented strong evidence toward making that argument I am not yet finished.

Three Must Read Werewolf Books for Your Holiday Shopping Season

In October I commented on two of the best werewolf transformation scenes of all time and then broke down one of the all time great werewolf movies – The Howling. To complete my series of werewolf themed posts I would like to change media formats; from movies to books.

More to the point, and in light of this being the silly season, if you have loved one’s who enjoy a good scare then I have three must read werewolf books any one of which would make a wonderful gift. In addition, and this being the season of lists, I have ranked them in my order of preference from third to first, with this post focusing on the third of my recommendations (and follow up posts tackling my top two choices):

3.) The Howling – by Gary Brandner

The_howling_book_cover

First off, for those of you clicking on the link provided above note that I have chosen to include the original book cover in this post (from its publication in 1977). This decision was made for a number of reasons. Most notably it is because the werewolf pictured on the cover of the 2011 edition looks nothing like the very wolfish four-legged werewolf described in the book. In that regard I think Brandner’s publisher did his work a disservice. On the other hand I am also a traditionalist, and enjoyed the simplicity of the original cover.

With that out of the way the book’s plot is fairly conventional in terms of many of its larger points – the werewolves can only transform at night, there is a clear progression of victims, etc…But beyond that the book does a number of things well, all of which elevate it to being quite a nice read.

Two of the most important decisions made by Brandner were discussed in my previous post regarding the 1981 movie “The Howling” which otherwise has little similarity to this book. That being the sheer malevolence of the werewolves, and their communal nature. Not to gloss over these decisions as they were truly innovative for their time – but again read the other post….Go ahead, I will wait….In the meantime I will discuss several other things Brandner did that were worthy of praise.

For one he crafted a tightly written work (at 200 plus pages) that absolutely nails the right mood and tone for a werewolf novel. The town of Drago, the home of the werewolves, is about as creepy as it gets. It is a genuinely scary place that exudes evil. That is to Brandner’s credit as a writer. Striking the proper atmospherics is one of the trickier aspects of writing, and Brandner nails it. Drago is the kind of place that if you stumbled across it you would promptly roll up the windows, lock the doors, and speed on through even as you tried to shrug off the inexplicable chill running up your spine.

In addition, in a book that features an almost pornographic sex scene and features a horrible act of violence against a woman Brandner manages to create a female protagonist named “Karyn Beatty” who is brave, sympathetic, and admirable enough that one almost forgets about the otherwise more sordid aspects of his work. Had her character been written the same way for the movie that she was for the book she might have gone down as another of that era’s great fictional female champions every bit as strong as her onscreen peers Ripley (Alien) and Sarah Connor (Terminator). This is because Brandner’s Karyn suffers through a series of tragic circumstances including: a rape and miscarriage; a less than supportive slut of a husband who ends up abandoning her during her time of greatest emotional need; the loss of her dog (who can’t sympathize with that); and one closed door after another everywhere she turns for help.  Yet through sheer force of will she overcomes. This strength of the book is perhaps the greatest failing of the movie version – as the film’s character Karen White (played by Dee Wallace-Stone) somehow comes across as more of a damsel in distress than a heroine.

Finally, I have to single out for special attention the book’s introduction. It is a tidy little vignette taking place hundreds of years ago in an Eastern European town named Dradja, and it is fantastic. I would rather have you read it then describe it. As much as this introduction pulls the reader in however, it leads into perhaps the book’s greatest fault. And as a side note on the book’s faults say what you want about Brandner’s decision to create werewolves that look like wolves – I prefer by far the film’s two-legged version of a werewolf – but for some reason the almost literal man into wolf somehow works here. Now back to the good stuff….

The introductory chapter setting the book’s back story was so well written, so horrifically compelling, and unfortunately brief that it left this reader wanting more. It is almost like he created an outline in that first chapter that easily could have been blown out into several large chunks inserted throughout the story; pacing the present with the past and in effect telling the twin stories of these evil towns (Dradja of the opening vignette and Drago of the novel’s main body) side by side. Yes this would have blown out the length of the book into something more Stephen Kingishly long, but in this case that wouldn’t have been a bad thing. As it was the horror in Dradja that Brandner dangles before the reader is so compelling that the rest of the book’ first act almost pales in comparison. And this is in spite of the horrific rape that otherwise dominates the first part of this work. In fact the book doesn’t really pick up again until we enter Drago, where Brandner regains his stride and carries the reader through a fast paced second and third acts.

For sure I would have loved to see Brandner follow-up and expand that opening scene into a full-blown novel or even a novella, but the book is still an enjoyable read (regrettably he passed away late last year at the age of 83). That is why I have the book “The Howling” at number three on my gift giving list for the werewolf fan. Please come back next week for my second selection.

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