CineBites: Back To The Future (1985)

If you don't love or at least like this movie, you must me crazy. That sounds cliche, but its so true. It's more than a classic, its even more than a landmark film, it's a part of the fabric of American (pop) culture/landscape. The movie has pulled off the trick of being so effortlessly appealing and charming -- yet it never simply coasts on either (though even if it did, it wouldn't matter much). It's so much of everything that I love about movies and about life, but I'll just continue on with my little tid-bits. Also, I will at some point in the near future, doing CineBites for Part II and Part III as well so look out for that.

First Bite: Why does it feel so short?

It's real strange that a movie that's central focus is "time" seems so short on actual run-time the more I see it. A few months back, when I started getting back "into" the movies and watched all three in a row, I couldn't get over how quickly the first movie flew by. It's maddening in a way, because I love relishing in the atmosphere of the movie and it's frustrating when its running right by and I want to enjoy and savor every moment of it. It's paced beautifully -- sleek and elegant -- and I can't blame the light, brisk flow because that's just another refrehsing aspect of it. I always usually count the third act as starting when Marty explains to George what the plan for the dance is, as they hang up laundry, and I always think, "wow, we got here fast!". Maybe it's just that the narrative is so concise and tightly strcutured (without any fluff) that everything gets said in done in way that gets right to the point. What's even more odd is that this is the second longest of the three films, with Part III having two more minutes, and Part II feels the longest but is really the shortest. --- ??? Crazy...but I will say that the short-feel of the original is not a flaw at all (and is more satisfying if watched back to back with Part II).

Second Bite: Claudia Wells as Jennifer Parker.

(Click on pic for enhanced beauty)

"How 'bout a ride mister?"

Recently I have been kind of enamored with Jennifer Parker, or actually Claudia Wells as Jennifer Parker, in the role of Marty McFly's supportive girlfriend who's brief appearence at the beginning and closing of the narrative just adds another layer of awesomeness to the movie. What can I say? Wells is just so smokin' hot in her five minutes of screentime, radiating a grounded, calm sexiness matched by a sweet, genuine, and appealing personality/disposition. Jennifer is the gorgeous dream girl for any guy, and it's Claudia Wells who gives her a realistic, timeless allure (with "timelessness" going back to the movie's central theme). Her chesmistry with Michael J. Fox feels lived-in and special, and Wells communicates Jennifer's real love for Marty and his musical talent (look at that bashful gaze when she watches him perform, and tell me you don't smile while your heart melts). The role itself isn't anything, really (at least not until the sequel), but Wells makes her one of the more interesting characters in the film...its just a real shame she couldn't return, but more on that later...

Third Bite: More than simple popcorn entertainment?

In the eyes of many, the first film alone is a brilliant, landmark movie that's been a treasured part of many lives for years and years, and one that many feel deserves to be taken seriously for more than just a cool piece of pop culture. Some might see it as simply enjoyable fluff, but I'm in the minority that it should be accepted within a serious film canon (along with The Godfather or Citizen Kane -- both of which are actually quite overrated and on a lesser tier than BTTF. Yeah, I said it). The lightness of Back to The Future shouldn't keep it from a higher status, as many other light comedies are held in higher regard (with some not so deserving), and especially considering that the film reaches and touches people on a universal level says alot, and considering that it is actually more than lightweight fun. Some might disagree with me here and say it has found its official place, but I'm not certain yet.

Fourth Bite:  Stoltz (almost) as McFly.

We all know the story: Eric Stoltz was originally cast as Marty McFly and seemed like an alright pick. But it's interesting to note that MJF was asked to play the part but couldn't due to time. Then about five weeks into shooting the director and screenwriter began to think they cast the wrong guy in the role of a teenage slacker who goes back in time, so after almost a third of the movie was shot, Stoltz was pulled out. And what a brilliant choice that was. I mean, really, can you imagine the role now being played by anyone except Michael J. Fox? With everything well into shooting you would think we would have been stuck with Stoltz for good -- also equally satisfying is that yanking Eric from the movie meant yanking Melora Hardin (Jan from The Office) from the Jennifer part, as she was too tall -- which we be just a double-negative; no Fox, no Wells?! No way! I hear tell that Stoltz's performance was too dramatic and heavy(!) -- ha, Marty's catchphrase! -- for the lightness and comic touch the part demanded. Even looking at the picture it feels...wrong. He's not a bad actor, just not right for Marty. (Also, Bob Gale says that the footage isn't being officially released because it makes him and Stoltz look bad? The story is legendary, and some footage has been leaked and I'm sure more will follow.)

Fifth Bite:  The marvelous music

What further elevates the movie is the charming, magical, joyful scoring done by Alan Silvestri, matched with the awesome songs like Huey Lewis (And The News) songs, The Power Of Love and Back In Time, Earth Angel, Roll with me Henry, etc.  First with the score, it's just so (again, for the tenth time) appealing, with feeling and a sweet but powerful emotional hook. Whether it's Marty entering 1955, or Biff about to break George's arm, or Marty escaping from Biff's gang on a hover-skateboard while Lorraine and others watch in awe, the score is always right up to par, beat by beat. The Huey Lewis songs are so iconic now and both add a kind of flavor and energy to the film, as well as bookending it. They don't feel dated at all, really. One begins the film on a energy high note, and the other does the same for our exit as the DeLorean comes flying at us and into 2015. Among other 50s classics that further immerse us into 1955, Roll we me Henry is a fun counterpart to the elated sodashop scene and of course, the beautiful Earth Angel. Helping to further escalate the climatic moment and ending on a joyus and elated note, it always gives me the goosebumps; with George sealing the deal with Lorraine and Marty (and his hand) staying in time.

Of course, I have many more thoughts and things to say about the movie, but that might come in a review somewhere down the line, so I'll leave it at this. But, remember to look out for CineBites on the sequels!

The All-Wet Blog-A-Thon, Vol. 2

It has been a long-ass while since I've been back (mostly due to laziness/dry spell), but with the school year coming to an end, (funny, how my last post was from the beginning of the year) I hope to come back with some new stuff that I've been thinking about doing for a bit now. But a great entrance back into everything is thanks to Andrew, who is again hosting the blogathon for all things wet in cinema. Rain, mostly always used for dramatic effect, may sound cliche, but as a natural substance that might add (or be the center of) to a scene it almost always works.

For my contribution I have chosen a small scene from a movie that could be categorized as either a piece of crap or a masterpiece, with the general consensus leaning heavily towards the former. I, naturally, lean towards the latter. The scene blongs to Water Death Proof, Tarantino's most experimental film that has been critically lambasted (even by die hard fans) ever since it's release as part of the brilliant Grindhouse package five years ago.

The scene has rain adding to the lurid, down n' dirty, ominous atmosphere during the extended Texas Chilli Parlor sequence, where our cool, smooth antagonist tries to insinuate himself into the attention of the sexy girls hanging in the back porch of the bar.

The first shot of the scene is of the clear, crisp rain splashing onto the pavement and cutting through the summer humidity.

Jungle Julia is kickin' back with her long legs and feet exposed to the drizzle above her, letting the water slide down her lengthy leg, with Tarantino's ogling camera delighted with every second (as are we). This is one of the most erotic shots in the film, and in a film that centers around casul and unusual gratification, its saying alot. But the natural, free flowing rain blends perfectly with Julia's sexuality with she dangles and wear's on her sleeve -- and of course the next beat/shot of the camera following the rain down the whole length of her leg sets up (spoiler!) this shot, where any control she had is now gone.

Though with this scene we have the contasting potency (rain, Jungle Julia) against impotency (Stuntman Mike) and its a contrast that proves soon to be deadly and something even deeper than mere sexuality.

Mike makes a smooth introduction to Julia, who is intrigued somewhat by this old guy who still might have some cool left in him

That is before the cool gets completely sucked out of him when he attempts to sneeze but just cannot seem to blow his, uh, nose. His face contorts itself into looking like something that happens when he would actually, well, you know. But of course that problem is what leads him to do what he does. This connects to another bit where we see that Mike cannot cry (he puts in eye drops) and here he cannot sneeze, and by the looks of things, lacks another kind of bodily fluid; nasty but true.

"What the fuck was that?!"

Leena Frank wonders what we all wonder about this psycho Stuntman, and that we will never know the whole story is even scarier. So, back to the rain...it's not a necesity for the scene to work, but it adds a naturalistic texture to the atmosphere and the feel of what the whole first half is aiming for; gritty, lurid, slightly ominous, and real and jiving with the slasher movie feel perfectly.

Why is it that I am only one of the handful of people that completley loves this movie?

Do you like/love Death proof?