Tag Archives: Paul Schrader

1982 Films, Ed Begley Jr., Horror, John Heard, Malcolm McDowell, Nastassja Kinski, Paul Schrader, Ruby Dee, Thriller

Cat People-1982

Leave a comment

Cat People-1982

Director Paul Schrader

Starring Nastassja Kinski, Malcolm McDowell, John Heard

Scott’s Review #1,275

Reviewed July 10, 2022

Grade: B+

Cat People (1982) is a mysterious and psychological trip into the strange universe of humans possessing cat qualities, sometimes with a tendency towards vicious limb extraction and other such mauling techniques.

It’s an absurd premise though admittedly clever with an identity all its own. Feeling slightly dated mostly due to the early 1980s synthesizer-like musical score, film style, and the casting of some actors at the top of their game, Cat People is nonetheless enjoyable and sexual.

Especially recommended is a late Friday or Saturday night viewing with as little light as possible for the best ambiance.

Since our rented DVD copy was ravaged by poor visual quality and hard-to-hear sound, a thought is to simply buy the film.

The 1982 version of Cat People is directed by Paul Schrader who is best known for writing or co-writing Scorcese greats Taxi Driver (1976) and Raging Bull (1980). The director also has his share of his films as recent as 2021.

His production is a remake of one made some forty years earlier which I have not seen.

The mood of Cat People is an overwhelmingly sensual and violent horror and thriller tale. The action immediately gets off to a sexually perverse start when during presumably prehistoric days, a wild black panther impregnates a young girl offered to him via sacrifice.

The message is clear that this results in a weird human/cat hybrid being coming into existence.

In present times, Irena Gallier (Nastassia Kinski) harbors a dark family secret that she despises. She reconnects with her estranged brother, Paul (Malcolm McDowell) who shape-shifts into a savage beast. He lives in the southern city of New Orleans and has spent time in a mental hospital.

Irena visits the local zoo and finds herself attracted to handsome zoologist Oliver Yates (John Heard), even as her brother makes his incestuous advances toward her. Inevitably, the family curse rears its ugly head when Paul rips the arm off one of the zoo workers played by a young Ed Begley Jr.

I like tremendously how Schrader incorporates New Orleans as the central setting. Having nothing really to do with the story the French-influenced city is nice to look at as restaurant scenes feature Creole style and other southern/European sophisticated little gems.

Ruby Dee is cast as a wacky housekeeper named Female rippling with New Orleans flair and who is aware of the terrible family secret.

Nastassja Kinski is perfectly cast as the provocative and sultry main character and she effortlessly leads the charge. Others like Heard and Annette O’Toole who were A-list stars in the early 1980s provide a time capsule of Hollywood relevancy.

Unfortunately, this also makes Cat People feel like from another time and the 1980s film style is painfully obvious.

The growling and vicious cats feel both scary and fake during close-ups but imagine the trickery of using real-life leopards? The filmmakers did the best they could and this is also obvious.

Some sequences are quite grisly and when they aren’t there are best-remembered scenes of peril and intrigue. O’Toole’s character of Alice (another zoologist) takes a late-night dip in a swimming pool and is harassed by a menacing Irena.

Earlier, a great scene occurs when a prostitute named Ruthie visits her client in a dingy motel room only to realize that her john is a mean leopard. We assume she will be ripped to shreds but this dubious honor is saved for another slutty character who Paul picks up at a funeral.

An attempted triangle between Irena, Oliver, and Alice goes nowhere and bewildering is why the decision was made to even try. The power couple is Irena and Oliver as their smoldering love scenes are sensual and skin heavy professing almost immediate love for each other.

With enough explicit sex and gratuitous violence to keep many viewers titillated, Cat People (1982) has positives and negatives. When it was released I bet it was a pot boil of juicy and relevant intrigue, but the film hasn’t held up quite as well as some others.

2003 Films, Bruce Dern, Clint Eastwood, Dennis Hopper, Documentary, Ellen Burstyn, Francis Ford Coppola, Jon Voight, Julie Christie, Martin Scorsese, Milos Forman, Pam Grier, Paul Schrader, Peter Bogdanovich, Robert Altman, Roy Scheider, Sissy Spacek, Sydney Pollack, William Friedkin

A Decade Under The Influence-2003

Leave a comment

A Decade Under the Influence-2003

Director Ted Demme, Richard LaGravenese

Starring Francis Ford Coppola, William Friedkin

Scott’s Review #392

60027599

Reviewed April 5, 2016

Grade: B+

Produced by the cable network Independent Film Channel (IFC), A Decade Under The Influence explores the decade of 1970s film, a decade that was arguably the most creative and liberating to filmmakers and audiences alike.

A period in film defined by the directors securing creative freedom instead of the studios, where artists instead of corporations finally ruled the roost. A Decade Under The Influence gives us an overview of the era.

Despite some conspicuous omissions, I enjoyed this informative piece a great deal.

The documentary is divided into numerous segments including sections on women in film, the transition into a different period in Hollywood, and the subsequent close of the decade.

The interviews are plentiful including a who’s who of stars: Martin Scorsese, Ellen Burstyn, Clint Eastwood, Robert Altman, Julie Christie, Francis Ford Coppola, and numerous other influential directors, actors, and filmmakers.

Each individual describes his or her perspective on 1970s cinema, and personal anecdotes of experiences or challenges are shared.

Ellen Burstyn, for example, describes how the success of The Exorcist afforded her a plethora of other film offers, but all of the roles were of prostitutes, dutiful wives, or women in peril.

She needed roles more stimulating than those so she chose to star in Alice Doesn’t Live Here Anymore, which was a much better-written role. What I found a bit sad is how there are still limited, layered roles for women in Hollywood to this day unless one goes the independent film route, which this documentary touts as a savior.

Francis Ford Coppola relays how The Godfather was never expected to be a success, but rather, how he was chosen to direct the film merely because he worked for cheap and was Italian-American.

How ironic that the film became such a monumental success and influential to film making as a whole for generations to come.

The documentary, at times, seems like an overview of the decade, with many clips of classic 1970s cinema interspersed with the talking points.

Despite being three hours in length, I still felt that there was so much more than the documentary could have explored. Not surprisingly, the stars granting interviews were granted heavy screen time for their films.

The documentary was fine, but could have delved much deeper- I could see a multiple-disc set totally of ten or more hours dedicated to the decade.

One conspicuous omission was Robert Altman’s Nashville, arguably, the best film of the decade. While it was briefly mentioned, and a still frame of a scene from it did appear, I felt that it warranted more dissection and discussion.

This was more surprising given that Altman was interviewed for the documentary.

Another miss was Halloween or any mention of John Carpenter films. Halloween influenced many horror films to come and The Exorcist received heaps of coverage, undoubtedly because star Burstyn and director William Friedkin appear at length throughout the production.

Additionally, in the horror genre, Black Christmas (a highly influential horror film) was not mentioned at all.

A celebration of my favorite decade of cinema, A Decade Under the Influence is a documentary that is a basic must-see for fans of 1970s cinema, or film students perhaps immersing themselves into the world of great film for the first time.