Going to church has never been my thing. When I was a kid, I
would use any excuse to get out of going. Right down to the “put the
thermometer on the light bulb to fake a fever” trick. Church didn’t interest
me. All that preaching, testifying, and bible verse reading. I thought it was
extremely boring. Except for one thing: the music. Once the organ started
playing and the choir stood up to sing, I perked up. That was the good stuff.
The songs that made me want to clap along. I wouldn’t really sing though. I
mainly wanted to listen to the pros do it. People like Aretha Franklin. No, I
never actually got to hear Aretha sing live. She wasn’t visiting my church
anytime soon. But with the new movie, Amazing
Grace, I get pretty close to attending a service featuring the Queen of
Soul.
In 1972, director Sydney Pollack captured the live recording
of Aretha’s gospel album, Amazing Grace, as she performed at the New Missionary
Baptist Church in LA. It would go on to become the best-selling gospel album of
all time. The film didn’t fare so well. Due to technical problems, it was never
released. Even after these issues were resolved, decades later, Aretha blocked
the film from coming out. But, after her death, her family finally gave their
blessing.
I’m grateful that this film was able to be salvaged. You are
getting peak Aretha here. Her voice fills the auditorium wrapping itself around
you. Over two nights she sings a collection of standard hymns like, “Mary Don’t
You Weep”, “How I Got Over”, and my favorite here, “Wholy Holy”. There’s also
an interesting mashup of “Precious Lord, Take My Hand” and Carol King’s ballad “You’ve
Got a Friend”. Surprisingly, the songs blend perfectly together. The greatest
moment is the finale with “Never Grow Old”. Aretha works the entire room into a
frenzy. At one point, she’s so overcome with emotion that she has to sit down.
But she gathers herself and is able to deliver a final wail, much to the
delight of the crowd. And the viewers. It’s truly wondersome.
Even after remastering the film it’s still not that
polished. At times the camera is out of focus. Or you can see crew members in a
shot. At one point, the camera is shaking as if the person holding it was
dancing along to the music. Perhaps he got caught up in the moment. I actually
like that this isn’t a slick production. It feels more real and raw. And New
Mission isn’t very fancy either. This a simple place where people gather for
worship and fellowship. Before “mega church” became the norm. I also enjoyed
the crowd reactions. These aren’t paid extras. You can tell they’re feeling
Aretha and the spirit as if they’re not being filmed. A few times you catch
Mick Jagger making a cameo in the pews. But he’s really just another
parishioner moving to the beat.
The thing I appreciate most about this film is that it’s focused on Aretha and the music. Yes, it’s set in a church and she’s signing about Jesus, but you don’t have to be a believer in any particular religion to enjoy it. For some the message and the word of God is important. For others, not so much. But all can agree that they are moved by Aretha’s voice. This speaks to the power of music to bring all walks of people together. And the greatness of the Queen who delivers it.
I can always count on Turner Classic Movies (TCM) to
introduce me to interesting films. I like to go thru their lineup each week and
search for new (to me) titles. This happened recently with the 1970 drama Tick…Tick…Tick.
In Tick, Jim Price
(Jim Brown) is elected as the first black sheriff of Colusa, a small southern
town. Not surprisingly, this doesn’t go over well with the white population.
They don’t want this “boy” as their sheriff. They’re lined up outside the
police station on his first day, ready to attack. His deputies promptly quit on
him. And things get worse when Sheriff Price has to arrest John Braddock
(Robert Random) a rich white man charged with committing vehicular manslaughter.
Luckily, Jim has John Little (George Kennedy) the former sheriff on his side, as
well as Mayor Parks (Frederic March).
It would be easy to dismiss this movie as a knock off of In the Heat of the Night. The Best
Picture Oscar winner came out two years before Tick and it explores similar themes: black men placed in roles of
authority in a racially divided south are met with challenges and have to prove
themselves. In a funny coincidence, Tick’s
screenwriter, James Lee Barrett, went on to create the TV version of In the Heat of the Night in 1988.
But Tick isn’t
trying to be ITHOTN. It stands out on
its own with a compelling story. There are also three strong leading men.
Brown, a former professional football player, easily makes the transition into
acting. Kennedy plays the hurt and disappointment of a man who has suddenly
been ousted from a job he truly cared about. And veteran film star, March, provides
both comedy and a masterful presence as the cantankerous Mayor Parks.
Director Ralph Nelson does a wonderful job of creating the
feel of this tense overheated southern town. The sweat practically drips of the
screen into your living room (or theatre, if you’re lucky to catch a
screening). I also appreciated the fantastic chase scene where Sheriff Price
has to run down an elusive Braddock. The camera stays with Brown as he practically
flies across the screen.
If I have a complaint about the movie, it would be that the
story wraps up a little too easily. I wouldn’t have minded a couple of more
beats before we got to the conclusion. I’d also say the roles for the women are
very limited. They don’t have much to do and are portrayed as nagging wives,
screeching harpies, or worse, victims. But these faults don’t take away from an
overall enjoyable film.
**BONUS**
Big points for the soundtrack, made up of Tompall and the
Glaser Brothers songs. They contribute to the flavor of the film. The best of
the bunch is “California Girl (And the Tennessee Square)”. A pure toe tapper
with a Thoreau reference tossed in!
It’s helpful to go into The
Best of Enemies with few expectations. This won’t be the best movie you see
all year, but it won’t be the worst either. It’s just…adequate.
The film, set in 1971 North Carolina, focuses on a civil
rights activist and a local KKK leader who form a highly unlikely friendship.
Ann Atwater (Taraji P. Henson) and C.P. Ellis (Sam Rockwell) are called upon to
co-chair a community summit (aka a charette) about school desegregation. Of
course, from the start they hate each other. Slurs are thrown around by both
sides. But over the course of the summer they grow to sorta kinda like each
other. Big emphasis on sorta.
If this wasn’t a true story, I’d say it could never have
happened in a million years. And really, the wild premise is the best thing
about the movie. I had no idea this small part of history existed. Too bad the
script doesn’t help to flesh it out better.
This could have been a great historical drama with equal
focus on Ann and C.P. I would have liked to learn more about Ann and her life,
beyond being an activist for her community. Instead, so much of the movie is
devoted to C.P.’s journey. This means a lot of focus on the Klan. Which
translates to several scenes with racists being racist. What’s the point? You
don’t have to convince me that these are disgusting people. One Klan meeting
would have sufficed. Also, the film feels very long, moving at a glacial pace. Not
playing the same bigoted beat over and over would have gone a long way to help
that.
Henson and Rockwell are fantastic as usual. They both deliver
strong performances. Anne Heche also stands out in her role as C.P.’s wife. But
I wish they had better material to work with here.
Some are going to argue that this movie is another Green Book or The Help. There are similar themes for sure. But The Best of Enemies can’t live up to the
movies that came up before it. And it will surely be forgotten by the time award
season comes around, unlike its counterparts. But if a moviegoer is looking for
a fairly entertaining film to fill their matinee slot, again, this will be
adequate.
The first time I saw the movie Heathers was when I was a teenager, one night in the mid-90s. Comedy Central would show it pretty often. This was back in the days when all the channel had to put on were old movies and TV shows. BSP. Before South Park. I don’t think I fully got it that first time. And since it was on basic cable, I was getting a censored version. But something about it resonated. I loved it right away. Maybe I related because I was in high school at the time. Or maybe I was engaged because it starred my favorite actress from 90210. Or maybe it was the just pure craziness of it all. There is a myriad of reasons. This movie was funny, weird, interesting, surprising, and different from any other teen comedy I’d seen before. Probably because it was so dark. I think this is when I first started to have an appreciation for black comedy. Laughing at something extremely inappropriate is always better. Later on, I was able to catch the uncensored version of Heathers and my love for it grew even more. Fuck me gently with a chainsaw, indeed. Fast forward to 2019 and Heathers
is celebrating its 30th Anniversary. I’ll breakdown why it’s
still my favorite movie after all these years.
Writing & Directing
It all begins with the story. It’s hard to sum it up in one line. I wonder what screenwriter Daniel Waters said when people asked him what his screenplay was about. Here’s a one-liner: A group of bitchy popular high schoolers are decimated by one of their own friends and a sociopathic outsider. That was dramatic. And it doesn’t really do this movie justice. It’s about a lot of things. The pressures of high school, first love, clueless adults, suicide, murder, the media, small town life. And the way that life can SUCK! Waters really crafted a nuanced script about teenagers unlike anything else that was out there at the time. Then Michael Lehmann brought Waters’ vision to life through his direction. Guiding us through the light, moody, and dark moments. This is not a John Hughes movie. Nothing against Hughes at all. But in this movie a lot of these kids aren’t making it past their sixteenth birthdays.
Characters
It’s called Heathers, but Veronica (Winona Ryder) and J.D. (Christian Slater) take center stage. The Bonnie and Clyde of Sherwood, Ohio. Veronica’s life is going along fine as usual. Keggers with kids, forged notes, spaghetti with lots of oregano. Then comes J.D. After a little flirting and an expulsion comes a game of strip croquet. Which then leads to them “accidently” killing Veronica’s best friend (and her worst enemy…same difference). The body count grows from there as J.D. and Veronica go on a little killing spree. It’s a wild ride and you’d think you’d hate these characters. Murder is bad and all that. But they’re just so damn fun to watch. You actually end up rooting for them to be together and get away with their crimes. I don’t think you’d get to that place if anyone other than Ryder and Slater were playing the parts. She brings a vulnerability and sensitivity to Veronica. While Slater dials up J.D.’s brooding and somewhat sinister (while still likeable) nature. It all works so well and the chemistry between them comes through.
Then there are the Heathers: Chandler (Kim Walker), Duke (Shannen Doherty), and McNamara (Lisanne Falk). This is the best clique in cinema. Just my unbiased opinion. Walker plays the icy popular girl to the hilt. She projects such an air of superiority in her scenes while delivering some of the best lines. “They all want me as a friend or a fuck.” It’s incredibly sad that the actress died so young and couldn’t go further in her career. As I mentioned before, Doherty was my favorite on 90210. But even if she hadn’t been, I’d still be endeared to Heather Duke. She starts off so timid and meek, but then has a metamorphosis mid-movie. That bitch was always waiting to come out and Doherty plays it so gleefully. Heather McNamara could have been a forgettable role, but Falk makes you feel for her. She’s not necessarily a nice girl, but she isn’t a beast like her friends. Maintaining that line between the two is impressive.
Fashion
When I was in college, I took a film history class. One time we were divided into groups and given a list of films we could write an essay about. Heathers was not on my group’s list. But it was on another’s. Being a benevolent person, I gave a classmate the lowdown about the use of fashion in the in the film. I don’t remember how she did, but I hope she aced that paper. I digress. The clothes are used brilliantly in this movie to help define the characters. Heather Chandler is the strong leader in red. Heather Duke is green with envy. Heather McNamara is the weak yellow-bellied follower. And Veronica is blue because she’s depressed about all this shit. Throughout the film each girl typically wears their respective color. That makes it really fun to see Heather Duke turn into Chandler and start wearing red after her leader takes a header into a glass coffee table. Heather Chandler’s prized crimson scrunchie is literally the bow on top. And then Veronica steals it and becomes the new sheriff in town at the end of the movie. Who knew a flimsy hair tie could be so powerful?
Aside from the color wheel, everybody is wearing their 80s
finest. The first scenes at Westerburg with Veronica and the Heathers decked
out in their blazers with massive shoulderpads is Working Girl meets school
girl. They turn it out even more at Heather Chandler’s funeral. I kinda don’t
know what the hell they’re wearing, but I like it. Oh, and don’t get me started
on Veronica’s many hats throughout the movie. Or all of Heather Duke’s outfits
in the Big Fun petition montage. What other movie has a petition signing montage?!
Music
The second I hear Syd Straw’s version of “Que Sera Sera” I’m
in a Heathers headspace. It’s so
beautiful and matches perfectly with the opening fantasy sequence. And then they
bookend the movie with the Sly and the Family Stone version of the song. It’s
the soulful gritty cousin of Straw’s rendition. Something you’d hear in a dark
cool bar somewhere. Or after your school nearly blows up.
I have a confession. Up until today I had never listened to
all of Big Fun’s “Teenage Suicide (Don’t Do It)”. I only heard a snippet of the
song in the movie. Why? I don’t know, but I’m disappointed in myself. However,
thanks to a lyric video on YouTube I’m well versed in this batshit tune. It
really gets to the point. Don’t kill yourself, teens. Just bop along to this
ditty.
The rest of the score/soundtrack is made up of moody
instrumentals, synths, and those glorious snaps.
**Bonus**
If it wasn’t for Heathers, we wouldn’t have Heathers the Musical! Teenage suicide set to show tunes. I really enjoyed the stage version. Enough to see it twice when it came to my town. Thank you, Goldstar.
My top 4 songs:
“Beautiful”. A great way to introduce the story and all the players. “And when you’re beautiful. It’s a beautiful freakin’ day!”
“Candy Store”. Delightfully biting and catchy. “Honey what you waiting for…. shut up Heather!”
“Seventeen”. My teen angst bullshit has a torch song. “Fine, we’re damaged. Really damaged.”
“Kindergarten Boyfriend”. Incredibly touching. All you need is that “Ooooooh”.
NostalGeoff 