On this week’s episode of TheFilmography, Bjorn and I discuss PaulSchrader’s return to his “maninaroom” films with this 2007 crime drama starring WoodyHarrelson as Carter Page III, the eponymous “walker,” a gay man who escorts the wealthy wives of Washington elites to the social functions that their husbands are too busy (or too disinterested in) to attend.
Woody Harrelson is “TheWalker.”Schrader directs WoodyHarrelson, LaurenBacall, LilyTomlin, and KristinScottThomas.
As these men in rooms tend to do, Carter becomes embroiled in a murder for which he becomes the prime suspect.
Not a still from Mitchell&Webb’s “PeepShow,” but could be!
The film co-stars screen legends LaurenBacall and LilyTomlin, along with KristinScottThomas and (Schrader’s wife) Mary Beth Hurt, as the society women who take Carter’s arm, NedBeatty, and Schrader regular WillemDafoe, as two of their husbands.
“The Walker” cast group photo.
Though it may be my least favourite of the “man in a room” films (which is like saying “the least delicious chocolate”), “TheWalker” is nonetheless a smart, nuanced character study that features strong performances all around, and some nice thriller moments (one very effective chase scene in particular), and depicts a world not often seen in the mainstream cinema of its era.
The one and only LilyTomlin.Woody with Hollywood legend, LaurenBacall.
Listen to the podcast here:
Watch the trailer for “TheWalker” here:
Trailer for “TheWalker” on YouTube.
And just for fun, here’s a compilation of over an hour of PeepShow hilarity from the show’s YouTube channel:
Opening with a music-box melody that recalls “WatchChimes” from “Fora FewDollarsMore,” Morricone’s score for 1979’s “IlGiocattolo,” is at turns haunting and tender, with pounding piano chords (hints of the future score for “TheUntouchables“) sweeping strings, funky guitar, and a touch of Morricone’s signature whistling. This 11-track Cinevox release is one of my favourite albums from the Maestro’s lesser-known works.
Directed by GuilianoMontaldo (“Sacco&Vanzetti“), written by SergioDonati (“OnceUponA TimeInTheWest“), and starring NinoManfredi (“Bread&Chocolate“), “IlGiocattolo” has been described as “the Italian TaxiDriver.” Also known as “ADangerousToy,” the film tells the story of a mild-mannered accountant who becomes obsessed with guns and revenge after his police officer friend is killed.
Watch “Il Giocattolo” here:
Giuliano Montaldo’s “Il Giocattolo” on YouTube.Director GiulianoMontaldo from the introduction to “IlGiocattolo.”
StellanSkarsgard is the younger version of Father Merrin, and BillyCrawford is the boy possessed by the demon Pazuzu.
On this week’s episode of The Filmography podcast, Bjorn and I discuss PaulSchrader’s divisive 2005 prequel to WilliamFriedkin’s 1973 horror classic, TheExorcist.
One of the greatest shots in cinema history (which also made for one of the all-time greatest film posters!) from WilliamFriedkin’s 1973 original.
Listen to the podcast here:
TheFilmography podcastisavailable on Spotify, Apple, or wherever you get your podcasts. New episodes streaming every Friday.Director PaulSchrader on location.
Considering that Schrader was taken off the picture in post-production, and replaced by Die Hard 2: Die Harder‘s Renny Harlin, who re-cast, re-shot, and retitled it, it’s a miracle that this version ever saw the light of day.
RennyHarlin, director of the re-shoot, re-titled The Exorcist: The Beginning.
Starring StellanSkarsgard in the role originally made famous by the late, great MaxVonSydow, (and though my esteemed co-host may disagree with me) it’s worth the price of admission alone for the gorgeous cinematography by master of light, shadow, and (especially) colour, Vittorio Storaro (pictured with Schrader below).
PaulSchrader with legendary cinematographer VittorioStoraro.
The least successful elements of the picture are those which are meant to tie the film into the “Exorcist” franchise. The exorcism sequence itself feels like an afterthought, but where the film succeeds on its own terms is in the very Schrader-esque exploration of a deep crisis of faith. After successfully exploring the humanity of the son of God in MartinScorsese’s “TheLastTemptationofChrist,” I was intrigued by the potential flip side of that coin. When not slipping into the silliness of its supernatural elements, “Dominion” asks some profound questions about the nature of faith in the presence of evil. If the devil exists, then surely God must also exist, right?
WillemDafoe as Jesus, wearing his crown of thorns, in Scorsese & Schrader’s“TheLastTemptationofChrist” (1988).A still from Dominion‘s harrowing WW2 prologue, which serves as the core wound for Father Merrin’s crisis of faith.
Watch the trailer for “Dominion: Prequel To The Exorcist” here:
2005 trailer for “Dominion: Prequel To The Exorcist” on YouTube.
Watch the full movie here:
“Dominion: Prequel To The Exorcist” full movie on YouTube.
Watch the trailer for Scorsese & Schrader’s “TheLastTemptationofChrist” here:
Trailer for MartinScorsese’s “TheLastTemptationofChrist,” written by PaulSchrader.
Watch the trailer for the 4K release of WilliamFriedkin’s 1973 original “Exorcist” picture here:
Watch the trailer for RennyHarlin’s version, “TheExorcist: TheBeginning” here:
2004 trailer for “TheExorcist: TheBeginning” on YouTube.
Watch the full RennyHarlin version here:
Full movie (RennyHarlin version) on YouTube.
Watch RennyHarlin discussing his version, retitled “TheExorcist: TheBeginning” here:
RennyHarlin talks TheExorcist: TheBeginning.
Watch the trailer for the first sequel, JohnBoorman’s “TheExorcistII: TheHeretic” here:
Trailer for Scream Factory’s Blu-ray release of TheExorcistII: TheHeretic on YouTube, featuring a score by EnnioMorricone (expect future post on that).
Watch the trailer for WilliamPeterBlatty’s “TheExorcistIII” here:
Trailer for Scream Factory’s Blu-ray release of “TheExorcistIII” on YouTube.
Watch the trailer for DavidGordonGreen’s “TheExorcist: Believer” here:
And while we’re at it, watch the trailer for Renny Harlin’s “Die Hard 2: Die Harder” here:
This 2018 pressing of Morricone’s soundtrack to the 1968 picture directed by Massimo Franciosa, and written by Dario Argento, is an eclectic mix of pop songs (sung by Patrick Samson as if his life depended on it!), lounge numbers (by frequent Morricone collaborator Edda Dell’Orso), prominent sitar, and ranges in feeling from light and romantic, to dramatic, dark and moody.
Mr Ugly comes to town! This 1968 recording from United Artists Records to the 1966 Lee Van Cleef (“The Good, The Bad, The Ugly”) Spaghetti Western picture, co-starring Tomas Milan (“Traffic”), and directed by Sergio Sollima (“Revolver“), is one of Morricone’s most fun, and surprisingly emotional scores.
Listen to the album here:
The soundtrack to “The Big Gundown.”
Listen to the standout track, “Run Man Run (Main Theme)” here:
Main theme “Run Man Run.”
Watch the trailer for “The Big Gundown” here:
Trailer for “The Big Gundown” on YouTube.”
Watch the full movie here:
Full film available on YouTube.
Watch the original 1973 trailer for “Revolver,”* also directed by Sergio Sollima, and starring Fabio Testi and Oliver Reed, here:
I have a real soft spot for this picture, and it features another stand-out Morricone soundtrack. Expect a future post on this album.
On this week’s episode of The Filmography podcast, Bjorn and I dive into PaulSchrader’s 2002 BobCrane biopic, “Auto Focus,” a dark and funny portrait of the destabilizing effects of Crane’s twin addictions to sex and videotape.
Original theatrical poster.GregKinnear giving the best performance of his life as sex and video-addicted BobCrane.
GregKinnear gives a performance of great depth, one that was only suggested by his most popular roles, such as his Oscar-nominated turn in “AsGoodAsItGets.”
WillemDafoe having a blast as John “Carpy” Carpenter, Crane’s friend, enabler, and (possibly) murderer.
In a brilliant supporting part, WillemDafoe plays Crane’s friend, enabler, and (possibly) murderer, John “Carpy” Carpenter.
Their strange co-dependent relationship, and the chemistry between Kinnear and Dafoe, make for a fascinating psychological portrait of the destructive forces of addiction.
Wielding the video camera like a weapon.The (video) fruits of Bob’s labour.
It’s a lot funnier than it’s subject matter would suggest, thanks in no smart part to the influence of co-producers ScottAlexander & LarryKaraszewski.
As co-screenwriters, Alexander & Karaszewski practically invented this particular brand of empathetic but irreverent biopic with their script for TimBurton’sEd Wood, and perfected it with their scripts for MilosForman’s brilliant AndyKauffman and LarryFlynt biopics (ManOnTheMoon and ThePeoplevs. LarryFlynt, respectively).
Ed Wood poster art (detail) from the soundtrack album (score by Howard Shore).Man on The Moon theatrical poster (detail).Theatrical poster (detail) for Milos’ Forman’sThe People vs. Larry Flynt.
Listen to the podcast here:
TheFilmography podcast, streaming on Spotify, Apple, or wherever you get your podcasts.
Listen to the DVD audio commentary here:
PaulSchrader’s audio commentary for “Auto Focus.”
Watch the trailer for Ed Woodhere:
Trailer for Ed Wood on YouTube.
Watch the trailer for The People vs. Larry Flynt here:
Surf guitar, strings, vocal melodies, pop, classical, and jazz, Morricone’s 1964 score to Paolo Cavara’s mondo youth picture, “i Malamondo,” contains a wide range of sounds, moods, and passions, befitting the soundtrack to an anthology picture of such varied episodes as Italian students butchering a pig; teenagers skiing nude in Switzerland; a Parisian “happening”; Swedish students contemplating suicide; a nighttime orgy in a graveyard; a performance from the male Royal Ballet, etc. There are moments that suggest Morricone’s later work on Spaghetti Westerns, a little James Bond vibe here and there (as there will be on Morricone’s score for “Slalom,” a year later), and some of the dark, dissonant sounds of Morricone’sgiallo scores.
This 2021 release from CAM Sugar and Decca Records features nine bonus tracks, and striking artwork by Eric Adrian Lee. It is the second in CAM Sugar’s Morricone Segreto series, celebrating the “secrets (sogretto is Italian for “secret”) of Morricione’s genius.”
Inner-gatefold album artwork by Eric Adrian Lee.
Fans of Wes Anderson may already be familiar with the standout track L’ultima Volta (The Last Time), which was featured in “The French Dispatch” (both the film and the trailer).
DVD cover art for Paul Schrader’s “Forever Mine,” a film every bit as horny as critics said “The Comfort of Strangers” was.
On this week’s episode of The Filmography, Bjorn and I are joined by special guest Cameron Pulley for a discussion about Paul Schrader’s stylish and strange (and barely released!) 1999 neo-noir melodrama, “Forever Mine,” starring Joseph Fiennes, Gretchen Moll, and Ray Liotta.
Paul Schrader and Gretchen Moll on the set of “Forever Mine.”
The film is so strange in fact that rather than attempt to summarize the narrative myself, I’ll just re-post the synopsis from Paul Schrader’s website here:
“Forever Mine” synopsis fromhttp://paulschrader.orgJoseph Fiennes and some very strange make-up choices.(The greatly underrated) Gretchen Moll.
Listen to the podcast here:
Now streaming on Spotify, Apple, or wherever you get your podcasts.
“I want to make beautiful things, even if nobody cares, as opposed to ugly things. That’s my intent.”
On the subject of film titles & poster design, one name looms majestically above all others, Mr. Saul Bass!***
*And his collaborator and wife, Elaine Bass. **With admiration and recognition of Pablo Ferro, who takes a very respectable second place.
Saul Bass stands before some of his work.
Saul Bass is probably best known for his collaborations with Hitchcock, Preminger, and Scorsese, but his iconic work is featured in so many excellent pictures (all the more excellent for his contribution), which, taken in their totality, have left a distinctive mark on the history of cinema and represent a peerless legacy, not just as a designer of titles and posters, but also as a one-of-kind filmmaker in his own right.
Below are just a few samples of his work, some personal favourites, that make the argument for Saul Bass’ reputation as the best to ever do it. Naturally, this is not an exhaustive collection, as that would require a book, not a post. For that, I can recommend no greater source than Jennifer Bass’ and Pat Kirkham’s“Saul Bass: A Life in Film & Design,” featuring a forward by Martin Scorsese.
Saul Bass: A Life in Film & Design.Title sequence for OttoPreminger’s“The Man With The Golden Arm” (1955).
Title sequence for Hitchcock’s “Psycho” (1960).Saul Bass’ titles for “Psycho” are legendary, but lesser known is his contribution to the infamous shower scene, as evidenced by his storyboards above.
Simple but powerful poster design for John Sturges’ “The Magnificent Seven” (1960).Poster design for John Frankenheimer’s “Seconds” (1966).Sketch for “Seconds” (1966).
Title sequence from Martin Scorsese’s “Cape Fear” (1991).Also from the “Cape Fear” titles, red-infused negative image of Juliette Lewis’ eyes.Complimentary to the red imagery above, this green and black silhouette “cut out” imagery recalls the plummeting Jimmy Stewart figure from “Vertigo.”
For more on the best of film titles, please visit (and consider donating to) the authority at its source: The Art of The Title website, which boasts a breathtaking collection, and is currently (and entirely coincidentally!) featuring a tribute to none other than (you guessed it!) Saul Bass! Prepare to enter a rabbit hole!
